A Welcome from the Artistic Directors, “…Shostakovich suffered for his whole country, for his persecuted colleagues, for thousands of people who were hungry. After I played the cello concerto for him for the first time at his dacha in Leningrad (in 1958), he accompanied me to the railway station… In the big waiting hall we found many people sleeping on the floor. I saw his face, and the great suffering in it brought tears to my eyes. I cried, not from seeing the poor people but from what I saw in the face of Shostakovich. [In his music] is the experience of his people.”1 So wrote famed Russian cellist Mstislav Rostropovich of his countryman, the great composer Dmitri Shostakovich. Declared “an enemy of the people” by Stalin and the Soviet government for his modernist music, Shostakovich endured a lifetime of suffering and persecution. This month we’ll hear his powerful Ninth String Quartet, a work written just after the composer was strong-armed by Khrushchev into joining the Communist Party. Every composer and piece performed this season has a story to tell, some equally dramatic as Shostakovich’s and some less so. All of our fantastic performers from around the country also have a story to tell, as do each and every one of you, our listeners. We invite you to experience the incredible music you hear through the lens of your own unique histories. That is the essence of true music-making and receiving, and we are very privileged to share it with you!
Elinor and David Interview between Norman Lebrecht and Mstislav Rostropovich, date unknown. Published in The Book of Musical Anecdotes by Norman Lebrecht; New York: The Free Press, 1985.
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Lionheart – pg. 20
Tf3 – pg. 16
FamilyFest! pg. 6
Hilary Hahn – pg. 46
Trio Solisti – pg. 8 Ying Quartet – pg. 34
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Skaneateles Festival
2010
Board of Directors
Advisory Council
Administration
Dave Birchenough, President Doug Sutherland, Vice President George Bain, Treasurer Susan Dailey and Koko Fuller, Co-Secretaries
Thomas Bersani Ellen Bifano Beth Boudreau Barb Connor Mary Cotter William Davis John DeFrancisco Michael P. Falcone Lindsay Groves Claire Howard Andy Latchem Linda Kenan Dan McCann Andrew Ramsgard David Robinson (1924-2006)
Susan Mark, Executive Director David Ying and Elinor Freer, Artistic Directors
Carol Bentivegna Patti Carey Karen DeCrow Colleen Fisher Steve Frackenpohl Jean Graham Daniel Labeille Sharon Magee Fred Marty Madonna Meyer
Margaret Murray Lisa Riordan Louise Robinson Linda Roche Carol Stokes-Cawley Flo Swartz Jack Varney Karen Veverka Doug Whitehouse
Mary Bradly, Bookkeeper Ellen Meyer, Executive Assistant Maureen Meyer and Tyler Wilcox, Office Assistants Steve Frackenpohl, Stage Manager Alex Figura, Assistant Stage Manager Eric Boyce, Stage Assistant Nancy Boyce, Graphic Designer Suzi Harriff, MediaMarCon, Media Consultant Sharon Terino, Ad Sales Keith Horner, Program Notes Writer Matt Osika, Music Librarian
A Special Thank You to our 2009 Volunteers Diane Aberi Henry and Helga Beck Carol Bentivegna Ellen Bifano and John Gazda Tom and Arlene Bloomer Alyssa Blount Bolt and Barbara Bolton-Smith Mark Bostick Mary Bradly Carol Bryant Judy Byrant Betsy Burton Maryellen Casey and Bruce Keplinger Joan Christy and Tom Bersani Lori Ciaccio Victoria Clark Lynn Cleary and David Duggan Linda Cline Barb Connor Carol Ann Cook Sue Dailey
Barbara Delmonico Gary and Linda Dower Kim and Charlie Driscoll Linda Fentner Beth Fisher Colleen and Dan Fisher Paul and Erika Fiutak Steve and Sandi Frackenpohl Koko Fuller Judy and Sandy Gelston Alex and Donna Giambartolomei Dane and Debbie Gist Mary Gomoll-Granicz Jean and David Graham Holland Gregg and Patience Brewster Susanne Guske Dinah Hein Gay Hembach Donna Himelfarb Sally Holden Rob and Claire Howard Ruth Howard Ellie and Joe Hubbard
Don Hughes Elisabeth Hurley Joyce and Robin Jowaisas Holly and Jurgen Karker Martha Keppler Steven Kern and Josephine Nieuwenhuis Mary Knepper Myron and Luba Kopchynsky Wendy and John Kopley Josephine Kress Dan and Grace Labeille Chris Lego and Jeff Shingleton Craig Lindsay Sharon and Marshall Magee Bill and Miki Mahood John and Peggy Manring Joan Marcoccia Fred and Ginny Marty Ellie McGann Donna Merchant Madonna and Jeff Meyer
Peter Moller Julie and Jim Moore Corinne Murray Margaret Murray Richard Naughton Bob and Sally Neumann Jeff Paston Hilda Pato-Krol Martha Pierre Nina Pittard Hana Polachek Mimi Purington Dan and Lisa Riordan Louise Robinson Linda Roche Susan Roth Tom and Lori Ruhlman Erin Sammut Rosalind Schwartz Jean Shook David and Sharon Slater Mona Smalley Carolyn Smith Lynn and Corinne Smith Lorraine Smorol Peter and Elsa Soderberg Margaret Sovik
Joseph and Susan Spalding Jan Sterling Carol Stokes-Cawley Don and Chacea Sundman Peggy Surdam Doug Sutherland and Nancy Kramer Peter and Floe Swartz Mary Anne Trompeter Margaret Usdansky and Gustav Niebuhr Jack and Judy Varney Karen Veverka Connie Walters Patty Weisse Suzanne Weitz Bob and Jo Werner Robert and Glenna Wisniewski Roy Woodmansee Sheryl Woodmansee Jeff and Kate Youle
Acknowledgements
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Louise Robinson, Brook Farm – Concert Location & Hospitality Maryellen Casey & Bruce Keplinger “Cybersolvers” – Webmaster and Computer Coordinators Dave Birchenough & Carrie Lazarus, Patti & Bud Carey, Jean & Jack McGlynn, and Don & Chacea Sundman – Musician Dinners Joan Christy – Musician Dinners & Guarantor Reception The Falcone Family – A Christmas Suite at Hobbit Hollow
First Presbyterian Church – Concert Location Koko Fuller – Ticket Sales Rob Howard and Mark Manring – Photography ChaseDesign – Brochure & Program Cover Greg and Debbie Quick – Southwest Feast Dan McCann & Five Seasons – A Christmas Suite at Hobbit Hollow Skaneateles High School – Music Stands & Percussion
Many thanks to the generous Skaneateles residents who open their homes to the Festival’s visiting musicians. A special thanks to all the volunteers and cooks who make Summer Suite: Villas, Vittles & Fiddles such a great success.
© The Skaneateles Festival 2010
You won’t want to miss our 2011 season… Featuring
World-renowned jazz pianist and Grammy-nominee Marcus roberts and the
Marcus roberts trio
with roland guerin, bass and Jason Marsalis, drums in an evening of jazz under the stars at Brook Farm also PerForMing
Jon nakamatsu, piano Jon Manasse, clarinet and the return oF
hyperscore the fascinating community composition project and Much, Much More!
www.skanfest.org
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Thank you to all the Skaneateles Festival Donors! This list reflects gifts received as of July 28, 2010
Guarantor Society Aritst Pianos, Ltd. George S. Bain Dave Birchenough and Carrie Lazarus James and Karin Blute Maryellen Casey and Bruce Keplinger ChaseDesign Joan Christy and Tom Bersani Lynn Cleary and David Duggan
Benefactor Bill and Penny Allyn Henry and Helga Beck Mark and Lou Bitz Patti and Bud Carey Stephen and Linda Chow Columbian Foundation, Inc.
Gold Patron Susie Birchenough and Raz Rahman Bill and Marcia Burrows Alan Coates Ed and Paula Conan Susan T. Dailey Donna and Bill Davis Elizabeth and Evan Dreyfuss Ian and Rita Edwards Penny Eger and MJ Osborne Robert and Nicolena Errico
Patron Ivan and Mimi Ace Anonymous Rudolf and Agnes Benfey Dave and Pat Blackwell Mary Bradly Louise Bristol Corinne and Bill Buterbaugh Elet and John Callahan Edward Castilano Chung-Taik and Nam-Sook Chung W. R. and Laurie Clark George and Nancy Collins
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The CNY Business Journal The CNY Community Foundation Inc. Barb Connor Cybersolvers The Gladys Krieble Delmas Foundation Michael P. Falcone Michael and Noreen Falcone The Fletcher Foundation Koko Fuller John Gazda and Ellen Bifano
Jean and David Graham The Howard Green Foundation Green & Seifter CPAs, PLLC Hiscock & Barclay, LLP The Ewing Marion Kauffman Foundation Linda and Bruce Kenan John and Peggy Manring Bob and Sally Neumann Onondaga County Faye Panasci Louise Robinson
Carl Schramm and Ellyn Brown Sherwood Inn Peter and Elsa Soderberg Don and Chacea Sundman Doug Sutherland and Nancy Kramer WCNY Classic FM Welch Allyn Inc Sieglinde Wikstrom
Bob and Sue Congel Mary Cotter Sid and Suzanne Devorsetz Colleen and Dan Fisher Franklin Properties Dr. Robert Kiltz, CNY Fertility Andrea Latchem David and Anne Lee
Chris Lego and Jeff Shingleton Fred and Ginny Marty Dan and Kathleen Mezzalingua John and Kim Mezzalingua Martha Mulroy and David Manfredi Robert and Christine Pierce
Sutton Real Estate Company, LLC Testone, Marshall & Discenza, CPAs Salli and James Tuozzolo Jack and Judy Varney WRVO WSYR Radio 570
Donald and Jean Eygnor Patricia and Steven Ford John V. Frank Dr. and Mrs. Gianfranco Frittelli Gilberti, Stinziano, Heintz and Smith, P.C. Dana and Susan Hall Joe and Mary Ellen Hennigan George R. Iocolano Joyce and Robin Jowaisas Ed and Jill Little
Marshall and Sharon Magee Susan Mark Peter and Betsy McKinnell Meet the Composer Realty USA, Linda Roche Division Frank and Frances Revoir Foundation Dan and Lisa Riordan Dan and Linda Roche David Rubin and Tina Press Jack and Stephanie Rudnick
Buzz and Mary Ann Shaw Jary and Julie Shimer Skaneateles Area Council for the Arts Mona Smalley Ken and Lois Spitzer Charles and Barbara Stokes Sandra Sulik Peter and Florence Swartz Doug and Peg Whitehouse David Ying and Elinor Freer Jeff and Kate Youle
Charles and Margaret Crosman Alan E. Curle and Andrew S. London Starke Donnally Elderberry Pond Country Foods Linda and J. Randolph Evans Hamilton and Fran Fish Bill and Sharon Fox Steven and Sandi Frackenpohl Mona and Coburn Freer Steve and Ann Hahn Sally Holben Tom and Gretchen Jeffers Mary Knepper Wendy and John Kopley
Daniel and Grace Labeille Lee Wayne Corporation Marilyn Lerman John MacAllister Clifford and Lucille MacBroom John and Candace Marsellus Madonna and Jeffrey Meyer Modern Kitchens of Syracuse Margaret and William Murray Chris and Amy Neumann Greg and Debbie Quick Fritz and Phyllis Rohrlich Bonnie Romano Mark and Teresa Roney Richard and Bonnie Scolaro
Kendrick and Gracia Sears Jean Shook and Chris Johnson Jan Sterling Judith Stoikov and Richard Miller John Sutter Paul and Mary Torrisi Cynthia Tracy Margaret Usdansky and Gustav Niebuhr Eleanor Ware David and Betty Ying John and Carol Young
Contributor Eric Allyn and Meg O’Connell Laura and Scott Allyn Lew and Dawn Allyn Sherwood and Carol Bain John and Kathy Baran Lynne and Richard Bennett Sebastian and Carol Bentivegna Ann Marie Bergold Frank and Peggy Bersani Bolt and Barbara Bolton-Smith Lila Brehm Dan and Theresa Brown Hal and Peggy Brown Jane Burkhead and Robert Sarason C. Vincent and Winifred Byrne Andres and Monique Cardenes Michael and Dottie Cogswell Goodwin and Barbara Cooke Tim and Margie Creamer Carl and Judith Crosley Jim and Cecilia Curley Mickey and Johanna Dalton Karen DeCrow, Esq. Jed and Barbara Delmonico Gretchen and Louis DePaull George and Marion Dowley
Member Karl Barth Bill Bell Lawrence and Margaret Black Cindy Blume Helen Boatwright Barbara and Dennis Bowen Bernie and Ona Bregman Edward and Gloria Brennan David Brittain Mildred Cefaratti Carla and Bob Copeland Anthony and Patricia DeAngelis Carol Delaney Marilyn DeLorenzo Myron and Barbara Egtvedt Mohsen Emami
Marvin and Patricia Druger Anna and Ed Egert Stuart and Barbara Evans Bob and Kay Fagliarone Dr. and Mrs. Michael Fallon Paul and Erika Fiutak Judith A. Fox Susan and Frank Freer Karen Gahl-Mills and Larry Mills-Gahl Ron and Rose Ann Gay Alex and Donna Giambartolomei Dr. Phillip Gioia, Children’s Health Specialists, P.C. Kenneth and Laurel Grant Josephine M. Gregg Georgina Gregory Agnes E. Griffith, Ph.D Kathleen and Marcus Haddock Roger and Estelle Hahn Josephine and Robert Harris William and Karen Havens Frank Heath Bob and Peggy Hegel Jim and Pat Hertz Rich and Debbie Hole Jack and Ruth Howard Mr. and Mrs. Joseph Hubbard John and Linda Isaac
Ellen Cook Jacobsen, MD Jackie Keady James Kirby Elizabeth Kolodney and Barbara Sutton Barbara Kotula Joseph and Gracia Koziol Roger A. Krieger Lin Kroeger and Alan Johnson Joan and Ted Kuck David Landsberg Jim LaRonde and Anne Hegel Daniel and Marianne Larson Marian Loftus William and Anne Lynn Joe Massey Bill and Miki Mahood Susan Martineau Melissa Matson and Bob Taylor Edward Mazur Jean and Jack McGlynn Eileen Murphy and CJ Ryan New Hope Antiques Sean and Laura O’Keefe Nancy Oplinger and Richard Freeman Larry and Kathy Palmieri Fred and Frances Pestello Eleanor K. Peterson Marc and Cristina Pietropaoli
Arnold and Judith Poltenson Dick and Kim Poppa Carol Rowehl and John Kahler, Jr. Lawrence and Janet Ruston Al and Vicky Sabin Milton Sack Herbert and Hillery Schneiderman Susan and Steven Shaw Michael and Elaine Shende Howard Simon and Barbara Feuerstein Sharon and David Slater David and Deirdre Stam Carol and William Stokes-Cawley Holly Strong Kathleen and Mark Suher Frank and Rose Swiskey Linda Van Buskirk John and Jean Vincent Ron and Jane Walsh Richard and Ann Wasiewicz Mark Watkins and Brenda Silverman Charles and Nancy Williams Carol Wixson Bernhard and Ann Wolff Susan Wolstenholme
Marilyn Giancola Gloria and Joshua Goldberg Bob and Val Gray Mary Louise Hartenstein Robert and Nancy Holcomb Don Hughes Megan and John Keady Mr. and Mrs. Daniel Kenney Stephen and Terry Kline Katherine Knoff Myron and Luba Kopchynsky Catherine Lathwell Edward and Karen Levene Richard and Betty Levy Rev. Frank Lioi Anthony and Sandra Lombardo Gard Lorey, DDS and Sean Smith, DDS, PC
Dawn and Guy Mackenzie James and Patricia MacKillop Julian and Charlene McCaull Fran and Kevin McCormack Jean L. McRae MediaMarCon Margaret Merli Bert and Peggy Mersereau David and Janet Muir Eldred and Eleanor Myers JoDean and Timothy Orcutt Bruce and Margaret Osborne Elizabeth Patton Anne Roth and Bob Cook Edith Schmitz Carol Sears Jon and Thelma Selzer Regina Setikas
Julie Sharpe Mary Soderberg Margaret Sovik Ruth Speiser Terrance and Mary Frances Squires Irene L. Stafford Jamie and John Sutphen Nancy E. Tiedemann Gail van der Linde Eric Vandewater and Rebecca Mays Karen Veverka Linus and Kathy Walton Patty Weisse and George Thomas George and Nancy Wettlaufer David and Deanna Yates Joyce Zadzilka
Claudine Labeille and Richard Morse David and Amy Sander
Margaret Sommerfield Rebecca and David Stephenson Michael and Judy Wallace
In memory of Rob Gourley Kathryn Angell Carr George S. Bain Cassidy Family Trust
Phydele “Toni” Ehrlich Dana and Rob Gourley, Jr. Daniel and Virginia Kenney
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FamilyFest is sponsored by:
The Panasci Family
Educational Events are FREE and are held at the First Presbyterian Church
With additional support from:
The Revoir Foundation and Dr. Robert Kiltz
Free at the Festival
Recommended for ages 5 and up
FamilyFest! Pictures at an Exhibition with Trio Solisti Wednesday, August 11, 11:00 am
Trio Solisti takes you through a musical gallery, where you’ll discover musical artwork inspired by Mussorgsky’s music. Featuring paintings from the Arts for Kids class, led by Therese Strodel. Fun for ages 5 and up. Trio Solisti (Maria Bachman, violin; Alexis Pia Gerlach, cello; Jon Klibonoff, piano)
The Birds and the Beasts!
Wednesday, September 1, 11:00 am Join Artistic Directors David Ying and Elinor Freer for a musical parade of feathered and furry creatures. We’ll hear musical portraits of animals by composers like Saint-Saens, Rimsky-Korsakov, Villa-Lobos, and others. After the music you’ll get to take part in our own instrument petting zoo, where you can see, touch, hear, and play a wide variety of musical instruments. Fun for the whole family!
Behind the Scenes Open Rehearsal • Wednesday, August 11, 2:00-3:00 pm Trio Solisti (Maria Bachman, violin; Alexis Pia Gerlach, cello; Jon Klibonoff, piano) and Alan Kay, clarinet; rehearse the Pulitzer-prize winning Tempest Fantasy with composer Paul Moravec.
Workshops For Music Students • Wednesday, August 25, 11:00 am Open to music students of all ages and abilities.* Sylvan Winds (Svjetlana Kabalin, flute; Kathy Halvorson, oboe; Pascal Archer, clarinet and saxophone; Erik Holtje, bassoon; Nancy Billman, horn) and Elinor Freer, piano
*Please Note: Pre-registration is required – students interested in participating can find the registration form online at www.skanfest.org or call 685-7418.
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The Skaneateles Festival is supported in part by an award from the National Endowment for the Arts.
Ways to S upport the F estival
D onate for M usic Today Donate today and support the 2010 season. Your gift will be recognized in the next year’s program.
S ponsorship for 2011 Sponsor a concert or musician for the 2011 season. Your gift of $1,000 or more can sponsor a musician or an entire concert in 2011. Your gift will be recognized in next year’s program and you will be invited to “meet the musicians.”
E ndowment Forever ... Your gift can provide beautiful music forever… when you donate to the Festival endowment fund.
Yes, I want to help the Skaneateles Festival. o Donate for music today o Sponsorship for 2011 o Donate to the endowment fund o Please contact me to discuss my gift options. Name_______________________________________ Address_____________________________________ City________________________________________ State_ ____________________ Zip_______________ Phone_ _____________________________________ Email: ______________________________________
I would like to make a tax-deductible gift to the Skaneateles Festival at the following level (all donations received this Summer are recognized in the following year’s program book): o Guarantor Society. . . . . . . . . . . . . . . $2000 and up o Benefactor Society. . . . . . . . . . . . . . . . . $1000-1999 o Gold Patron. . . . . . . . . . . . . . . . . . . . . . . . $500-999 o Patron . . . . . . . . . . . . . . . . . . . . . . . . . . . . $200-499 o Contributor. . . . . . . . . . . . . . . . . . . . . . . . $100-199 o Member. . . . . . . . . . . . . . . . . . . . . . . . . . . . $50-99
o Check enclosed.
Make checks payable to: Skaneateles Festival o Charge my: o Visa o Mastercard Card # ������������������������������������������� Exp. Date ______ /_______ Signature �����������������������������������������
Mail to: Skaneateles Festival, 97 E. Genesee Street, Skaneateles, NY 13152 For more information call 315-685-7418 Donate online at: www.skanfest.org 7
Thursday, August 12 7:00 PM Behind the Scenes
Tonight’s guest sponsorships:
(for ticket holders only)
8:00 PM First Presbyterian Church
Time for Three
Tonight’s concert is sponsored by:
Paul Moravec is sponsored by Bob and Sally Neumann Trio Solisti is sponsored by Jean & David Graham and Fred & Ginny Marty Phillip Ying is sponsored by Chris Lego and Jeff Shingleton With additional support from Meet the Composer
Behind the Scenes Join composer Paul Moravec and some of tonight’s performers as they discuss his works: Passacaglia and Scherzo.
Chamber Music Concert Dohnányi
Serenade for String Trio in C Major, Op. 10 Marcia. Allegro Romanza. Adagio, non troppo, quasi andante Scherzo: Vivace Tema con variazioni. Andante con moto Rondo (Finale). Allegro vivace
Moravec
Maria Bachman, violin Phillip Ying, viola Alexis Pia Gerlach, cello
Passacaglia (2005) Trio Solisti Maria Bachman, violin Alexis Pia Gerlach, cello Jon Klibonoff, piano
Moravec
Scherzo (2002) Trio Solisti
Intermission Mussorgsky (arr. Trio Solisti)
Pictures at an Exhibition Promenade The Gnome Promenade The Old Castle Promenade Tuileries (Children Quarrelling at Play) Bydlo Promenade Ballet of the Unhatched Chicks Samuel Goldenberg and Schmuyle Promenade Limoges – the Market Catacombs (Sepulchrum romanum) Cum mortuis in lingua mortua The Hut on Fowl’s Legs (Baba Yaga) The Great Gate at Kiev
Trio Solisti
Leadership support for Meet The Composer’s MetLife Creative Connections program is generously provided by MetLife Foundation. Additional support is provided by The Amphion Foundation, Argosy Foundation Contemporary Music Fund, BMI Foundation, Inc., Mary Flagler Cary Charitable Trust, Aaron Copland Fund for Music, Inc., The William & Flora Hewlett Foundation, The James Irvine Foundation, Jerome Foundation, mediaThe foundation, National Endowment for the Arts, New York City Department of Cultural Affairs, New York State Council on the Arts, Pennsylvania Council on the Arts and Virgil Thomson Foundation, Ltd.
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Trio Solisti is exclusively represented by Vantage Artists Management www.vantageartists.com
From the Artistic Directors
is company, and this week it’s also a creative launching Week at a Glance… Three pad for an amazingly wide range of music for trios of all sorts. Trio Solisti, called “the most exciting piano trio in America,” brings us standards like Schubert’s dreamy Notturno, as well as their own dynamic arrangement of Mussorgsky’s “Pictures at an Exhibition.” We also celebrate the vibrant, current concert music of Pulitzer Prize-winning composer Paul Moravec, including his “Tempest Fantasy,” the work which won him the prestigious award. The ear-bending week will be capped off by Tf3, the beyond-classification string trio. Musical adventure awaits those who make Time for Three!
Program Notes Serenade for String Trio in C Major, Op. 10 (1902) Ernö Dohnányi (1877-1960) When the Hungarian composer Ernö Dohnányi wrote this Serenade at the beginning of the 20th century, nationalist feeling ran strong through European music. Dohnányi, however, looked beyond the traditional songs of his country and felt that there was still much to be said – and often said it in a quite innovative way – within the traditional genres of suite, symphony, sonata and the serenade. His compatriots Bartók and Kodály, on the other hand, made folk song the basis of their life’s work. Though born only four or five years before them, Dohnányi had early success and became the senior member of the trio. Together, these three composers laid the groundwork for modern-day Hungarian musical life. Dohnányi went on to hold senior positions in Hungary as conductor, administrator and broadcaster. Even before he wrote the Serenade at the age of 25, his appearances as a pianist in Germany and Britain had established him as the greatest Hungarian pianist since Liszt.
© Keith Horner, 2010
Dohnányi matured quickly as a composer and the basic stylistic framework for his entire career was established early on. He had already written 67 apprentice works before the passionate, skillfully crafted Piano Quintet, Op. 1 brought him to the attention of Brahms. Dohnányi was just 18 and Brahms said he could not have written better himself. The Serenade for string trio followed seven years later, in 1902. Like the Piano Quintet, Dohnanyi wrote it in the Brahms tradition, but the Serenade has its own distinctive voice. It’s a charming work, deftly written and drawing maximum sonority from the ensemble. The concentrated opening movement is a powerful March that is full of muscular energy. Its inspiration seems to reach back to the 18th century serenades of Mozart and others. From them, Dohnányi draws clarity of form, intricate contrapuntal writing and transparency of texture. The second movement, Romanza, opens with a long viola melody and has a contrasting, passionate middle section. The Scherzo is a tour de force, taut and contrapuntal, with a lyrical central section. The evocative, haunting theme of the finale is derived from the angular second theme of the March. It’s the longest movement and a harmonically teasing and sophisticated sonata form structure.
Passacaglia (2005) Scherzo (2002) PAUL MORAVEC (b.1957)
Christmas Suite 2009 – Sponsors Evan & Liz Dreyfuss with guest Tom Bloomer
In 1985, Paul Moravec was awarded the prestigious Rome Prize Fellowship from the American Academy in Rome. (David Del Tredici and Aaron Jay Kernis were also musical composition fellows that year). Twenty years later, Trio Solisti commissioned the 10-minute Passacaglia for an extensive CD project on Bridge Records featuring American Academy in Rome composers. The piece is based on the Baroque musical structure of the passacaglia, where a single recurring melodic idea is passed from one instrument to another and shared as it generates the entire piece. Beginning high in the piano, shimmering brightly and repeated rapidly many times, with ethereal accompanying string harmonics, the theme gradually descends and comes into focus. It is most clear when taken up by the low, resonant cello, followed by the violin and then piano. As it progresses through more and more variations, adding
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8/12 Program Notes (continued)
subsidiary themes along the way, Moravec reveals its lyrical, romantic side. As the music builds to a powerful high point, Moravec weaves in the B-A-C-H motif [the notes B-flat, A, C and B-natural, in German music notation] – a favorite practice of composers paying tribute to the greatest of passacaglia composers, Johann Sebastian Bach. “The bulk of the piece,” the composer says, “may be regarded as a gradual acceleration, intensification and eventual evanescence of the various themes back to the state of extreme rapidity and high register that began the piece.” The virtuoso Scherzo from 2002 was also written for Trio Solisti and it, too, incorporates principles of the passacaglia into its four-minute duration. It is a brilliant moto perpetuo, punctuated by sonorous, bell-like chords; the composer describes it as “a compact, energetic, encore-like work.”
Pictures at an Exhibition (1874) MODEST MUSSORGSKY (1839-1881) As a piece of Russian realism, alive with vivid colors, varied textures, vibrant scenes and telling everyday situations, Mussorgsky’s Pictures at an Exhibition ranks with the best. Its original piano version is craggy and asymmetric and does not fall easily under the fingers. Yet Mussorgsky himself was a fine pianist and knew exactly what he was doing when he wrote the music. He hangs his Pictures
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many steppes away from the bland salon miniatures and flashy showpieces that formed the diet of 19th-century Russian pianists. In them, he uses a keen sense of dramatic realism to bring to life 10 pictures by his recently deceased friend, the Russian artist and architect Victor Hartmann. A memorial exhibition of 400 of Hartmann’s drawings, watercolors and set designs, mounted in St. Petersburg, gave Mussorgsky an incentive to write his own memorial to a prematurely dead friend who had given him advice about his newly revised opera Boris Godunov. Mussorgsky was just 35 at the time he wrote the piece. He was born to an aristocratic land-owning family, but dispossessed of his wealth in 1861, when the Czar freed the Russian masses from serfdom. Forced to work the tedious nine-to-five shift of a civil servant and possessing an incomplete musical education, Mussorgsky had only his raw talent to fall back on. He wrote this personal tribute to his 39-year-old friend at white heat, in less than three weeks, saying he “could hardly manage to scribble it all down on paper” because the musical ideas were coming so fast. The pictorial strength of Mussorgsky’s miniature tone poems far outweighs the provincialism of Hartmann’s work. In the opening Promenade, the composer portrays himself wandering from picture to picture. As he goes deeper into the memorial exhibition, the Promenade melody gradually becomes integrated into the music of the pictures themselves, increasingly coloring the spectator’s mood. Ravel
8/12 Program Notes (continued)
made a famous orchestral transcription of Pictures. Today we’ll hear it transcribed for piano trio. Promenade. Mussorgsky portrays himself and his thoughts. The Gnome depicts a grotesque little gnome, a child’s toy and design for a nutcracker, where the nuts are inserted into the shrieking gnome’s mouth. The Old Castle. A troubadour performs in front of a mediaeval Italian castle. Tuileries. Hartman painted this picture after a stay in Paris. Mussorgsky gave it the subtitle Children Quarrelling at Play. Bydlo is the Polish word for oxen. Hartman’s watercolor shows an old-fashioned wooden cart slowly moving along on its enormous wooden wheels. Mussorgsky’s piano original is played fortissimo from the first appearance of the cart, whose melody now begins to incorporate that of the Promenade. [In his 1922 orchestral transcription, the best known of three dozen or so orchestrations, Maurice Ravel writes for tuba solo, approaching from the distance]. Ballet of the Unhatched Chicks. Hartmann’s set designs for the Petipa ballet Trilby include a scene with children dressed up as canary chicks still in their shells. Samuel Goldenberg and Schmuyle was originally titled Two Jews, One Rich, the Other Poor by Mussorgsky, who owned the original pencil drawings.
Limoges – the Market. Hartmann’s sketch, made as he stood in the market place, depicts a group of lively, chattering women. Catacombs (Sepulchrum romanum). Hartmann’s watercolor depicts the painter himself and two friends exploring the Roman catacombs in Paris by the light of a single lantern. With no break, Mussorgsky’s score leads to Cum mortuis in lingua mortua. “It is the place of skulls.” Mussorgsky wrote. “The skulls begin to glow faintly from within.” The Hut on Fowl’s Legs (Baba Yaga). Here Mussorgsky took inspiration from Hartmann’s intricate design for a giant clock. The hut on stilts is the legendary home of the Russian witch Baba-Yaga, whose ride Mussorgsky gleefully portrays. The Great Gate at Kiev. This imposing tone poem springs from Hartmann’s design for a giant new city gate. Mussorgsky’s music transforms the original Promenade theme into one of the grandest of climaxes. — Notes © 2010 Keith Horner. Comments welcomed: khnotes@sympatico.ca
Retina-Vitreous Surgeons of CNY, PC proudly supports
The Skaneateles Festival
Our Retinal Specialty Group Practice serves Central New York for patients with diabetic retinopathy, macular degeneration, retinal detachment and other retinal-related diseases and injuries. Bryan K. Rutledge, MD, G. Robert Hampton, MD Paul F. Torrisi, MD, Sam C. Spalding III, MD Watertown Office
Syracuse Office
315-782-0492 1-800-654-0554
315-445-8166 1-800-654-0554
400 Washington Street Watertown, NY 13601
3107 East Genesee Street Syracuse, NY 13224 11
Tonight’s concert is sponsored by:
Friday, August 13 7:00 PM Behind the Scenes
Tonight’s guest sponsorships:
(for ticket holders only)
Time for Three
8:00 PM First Presbyterian Church
Alan Kay is sponsored by CNY Business Journal Elinor Freer and David Ying are sponsored by Green & Seifter CPAs Paul Moravec is sponsored by Bob and Sally Neumann Trio Solisti is sponsored by the Jean & David Graham and Fred & Ginny Marty With additional support from Meet the Composer
Behind the Scenes Join composer Paul Moravec and some of tonight’s performers as they discuss his work: Tempest Fantasy.
Chamber Music Concert Schubert
Notturno in E-flat Major, D. 897 Trio Solisti Maria Bachman, violin Alexis Pia Gerlach, cello Jon Klibonoff, piano
Trio in A minor for Clarinet, Cello and Piano, Op. 40 Carl Frühling
Mässig schnell Anmutig bewegt Andante Allegro Vivace
Alan Kay, clarinet David Ying, cello Elinor Freer, piano
Intermission
Paul Moravec
Tempest Fantasy (2002)
Ariel Prospero Caliban Sweet Airs Tempest Fantasia
Trio Solisti Alan Kay, clarinet Malcolm Ingram, reader
Leadership support for Meet The Composer’s MetLife Creative Connections program is generously provided by MetLife Foundation. Additional support is provided by The Amphion Foundation, Argosy Foundation Contemporary Music Fund, BMI Foundation, Inc., Mary Flagler Cary Charitable Trust, Aaron Copland Fund for Music, Inc., The William & Flora Hewlett Foundation, The James Irvine Foundation, Jerome Foundation, mediaThe foundation, National Endowment for the Arts, New York City Department of Cultural Affairs, New York State Council on the Arts, Pennsylvania Council on the Arts and Virgil Thomson Foundation, Ltd. Trio Solisti is exclusively represented by Vantage Artists Management www.vantageartists.com
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Program Notes Notturno in E-flat Major, D. 897 (1827-8) Franz Schubert (1797-1828) This beautiful, orphaned, slow movement for piano trio is generally believed to have been written as a rejected slow movement for the B flat Piano Trio Schubert wrote in the last year of his life. Published Fun Fact… as his Op. 148 Although he only lived to almost 20 age 31, Schubert wrote more years after his than 700 compositions death, the title Notturno was written on the score in another hand and that’s how the piece is often remembered today. It is graceful music, beginning with a gently swaying duet for the strings before shifting a semitone higher – in a typically Schubertian way – into the distant key of E Major. Each of these two contrasting melodies is heard in a varied form before a coda, based on the opening theme, brings the short movement back to a calm ending. As in the slow movement of the great C Major String Quintet that Schubert wrote in the autumn of 1828, an ethereal mood is created by means of a prolonged, slow-moving, suspended melody which is underpinned by a deep bass and embellished by an upper part.
© Keith Horner, 2009
Both movements move to a more animated middle section and then back to an even more serene and more highly decorated melody. This gentle Notturno can be heard as a first draft for Schubert’s greatest slow movement, the Adagio of his String Quintet.
Trio in A minor for Clarinet, Cello and Piano, Op. 40 CARL FRÜHLING (1868-1937) “Not a GREAT composer, perhaps, but a thoroughly lovable one,” in the words of British cellist Steven Isserlis, who began to champion Frühling’s music a decade ago. Frühling was born in L’viv (Lemberg), then the capital of the Austro-Hungarian province of Galicia. He completed his music studies in Vienna and remained there until his death in 1937. Little is known of his life and, perhaps, even less of his 100 works, most of which were unpublished and are now lost. A high point was working as pianist with the great violinists Huberman and Sarasate and the Rosé Quartet. A low point was living through Austrian inflation in the 1930s and writing begging letters to conductors to get his works performed. Although he lived well into the 20th century, there’s nothing in the Clarinet Trio to frighten away anyone who likes their Viennese coffee and Sacher Torte with a little
SKANEATELES FESTIVAL WINE SPECIAL Upon presentation of two Skaneateles Festival tickets, on the night of the event, The Sherwood Inn will offer a complimentary bottle of the Manager’s Select Red or White Wine to the couple, with the purchase of dinner. Reservations (315) 685-3405.
1-800-374-3796
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8/13 Program Notes (continued)
Brahms or Strauss. Frühling’s feet remain firmly planted in the romantic music of the late 19th century and he works comfortably within the sonata tradition. There’s a feeling of nostalgia over much of the lyrical opening movement. The second is a graceful Viennese ländler, lying a few deft modulations North of Schubert and Brahms. The slow movement travels a little further afield with its suggestion of the Orthodox chanting of Frühling’s home town and its modal main theme. The finale builds to a grand close and is always carefully crafted.
Tempest Fantasy (2002) PAUL MORAVEC (b.1957) Tempest Fantasy is the work that won a 2004 Pulitzer Prize for Paul Moravec. He composed the piece over two summers and dedicated it to Trio Solisti and David Krakauer, who gave the first performance in New York City’s Morgan Library in 2003. Moravec refers to the piece as “a musical meditation on various characters, moods, situations, and lines of text from my favorite Shakespeare play, The Tempest. Rather than trying to depict these elements in programmatic terms, the music simply uses them as points of departure for flights of purely musical fancy.”
The first of the suite’s five Fun Fact… movements The Tempest has proved depicts the a very popular subject for sprite Ariel, composers—at least 47 operas fleet, light-ofbased on the play exist. foot, a character for whom the musical term scherzo and the high clarinet register seem invented. Ariel’s master, Prospero, the rightful Duke of Milan, is a more solemn, thoughtful and all-powerful character, with music to match, in the second movement. The monster Caliban draws darker, more malevolent sounds from the quartet, now with bass clarinet. These first three movements, Moravec writes, “spring from the nature and selected speeches of the three characters after whom they’re named.” The fourth movement begins from Caliban’s uncharacteristically elegant speech from Act III, scene 2: “Be not afeard: the isle is full of noises, Sounds and sweet airs that give delight, and hurt not.” The finale, the most ‘fantastic’ flight of all, elaborates on the numerous musical strands of the earlier movements and draws them together into a convivial finale.” — Notes © 2010 Keith Horner. Comments welcomed: khnotes@sympatico.ca
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Tempest Fantasy – Text Excerpts 1. ARIEL All hail, great master! grave sir, hail! I come To answer thy best pleasure; be’t to fly, To swim, to dive into the fire, to ride On the curl’d clouds, to thy strong bidding task Ariel and all his quality. 2. PROSPERO Our revels now are ended. These our actors, As I foretold you, were all spirits and Are melted into air, into thin air: And, like the baseless fabric of this vision, The cloud-capp’d towers, the gorgeous palaces, The solemn temples, the great globe itself, Ye all which it inherit, shall dissolve And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuff As dreams are made on, and our little life Is rounded with a sleep. 3. CALIBAN You taught me language; and my profit on’t Is, I know how to curse. The red plague rid you For learning me your language!
4. CALIBAN Be not afeard; the isle is full of noises, Sounds and sweet airs, that give delight and hurt not. Sometimes a thousand twangling instruments Will hum about mine ears, and sometime voices That, if I then had waked after long sleep, Will make me sleep again: and then, in dreaming, The clouds methought would open and show riches Ready to drop upon me that, when I waked, I cried to dream again. 5. PROSPERO Though with their high wrongs I am struck to the quick, Yet with my nobler reason ‘gaitist my fury Do I take part: the rarer action is In virtue than in vengeance: they being penitent, The sole drift of my purpose doth extend Not a frown further. Go release them, Ariel: My charms I’ll break, their senses I’ll restore, And they shall be themselves. OR But this rough magic I here abjure, and, when I have required Some heavenly music, which even now I do, To work mine end upon their senses that This airy charm is for, I’ll break my staff, Bury it certain fathoms in the earth, And deeper than did ever plummet sound I’ll drown my book.
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Tonight’s concert is sponsored by:
Saturday, August 14 7:30 PM Brook Farm
Rain Location: Skaneateles High School
Dr. Tom Bersani & Joan Christy, Dr. & Mrs. James Blute and Dr. Barb Connor Tonight’s guest sponsorship:
Tf3 is sponsored by Dave Birchenough & Carrie Lazarus and Mary Cotter
Time for Three
With additional support from:
This groundbreaking, category-shattering trio transcends traditional classification, with elements of classical, country western, gypsy and jazz idioms forming a blend all its own.
Tf3 “Time for Three” Zach De Pue, violin Nick Kendall, violin Ranaan Meyer, double bass
The program will be announced from the stage. Selections will be chosen from the following Repertoire list Tf3 Originals
Tf3 Arrangements
Wyoming 307
Ranaan Meyer
Philly Phunk
Meyer
Bach Double
J. S. Bach
Forget About it
Meyer
Ashokan Farewell
Jay Ungar
Of Time and Three Rivers
Meyer
Amazing Grace
Traditional
Thunder Stomp
Meyer
Csárdás
Ecuador
Meyer
Shenandoah
Foxdown
Meyer
Hungarian Dance No. 5
Quail Hollow
Nick Kendall
Don’t Forget
Meyer
Bradford Commission
Kendall/De Pue/Meyer
Blackbird
Lennon/McCartney
Vittorio Monti Traditional Johannes Brahms
Turkey In The Straw
Traditional
Orange Blossom Special
Charlie Rouse
Jerusalem’s Ridge
Gigue
Meyer
Hallelujah
Mohawk
Meyer
Ragtime Annie
Bill Monroe Leonard Cohen Traditional
The Hymn
Kendall/De Pue/Meyer
Fiddle Faddle
Don Don
Meyer
Back Home Again In Indiana MacDonald/Hanley
Sunday’s
Meyer
Hide and Seek
Imogen Heape
Little Pete’s
Meyer
Moon River
Henry Mancini
Sweet Georgia Brown
Leroy Anderson
Bernie/Pinkard/Casey
Tf3 appears by arrangement with IGM Artists LLC, 152 West 57th Street, New York, NY 10019 www.imgartists.com
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The Skaneateles Festival is made possible in part by funding from Onondaga County.
Summer Suite 2009 at the home of Henry & Helga Beck
The Skaneateles Festival is pleased to have Brook Farm play host to an exhibit of sculpture from Gerald DiGiusto’s Contro series. Additional works by the artist will also be on display at the Summer Suite event at Lago Vista Farm on August 18. Ticket holders for that evening will be automatically entered in a drawing to win an original piece. This exhibit is made possible through the generosity of the Estate of Gerald DiGiusto. These sculptures, and others by the artist, are under the exclusive representation of the R Wells Gallery • 6 Emma Street, Binghamton, NY • www.rwellsgallery.com
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tonight’s event is sponsored by:
Wednesday, August 18
Baroque and Before
6:30-9:00 PM Reservations Required
Arleen & Loren VanRiper
Creekside Books & Coffee
Elderberry Pond Fins & Tails Joelle’s French Bistro
Pascale Sherwood Inn
Summer Suite: Villas, Vittles, and Fiddles
featuring Lionheart Lawrence Lipnik, Countertenor John Olund, Michael Ryan-Wenger, Tenors Jeffrey Johnson, Richard Porterfield, Baritones Kurt-Owen Richards, Bass
Join us at the beautiful Lago Vista Farm, home of
Arleen and Loren VanRiper Gorgeous home, gourmet food and great music – it doesn’t get any better than this. Join friends for an unforgettable evening of food & drink, camaraderie, and beautiful music. For more information visit www.skanfest.org or call 315-685-7418. (Order early – capacity is limited)
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The Skaneateles Festival is supported in part by an award from the National Endowment for the Arts.
Concert & Restaurant Specials Don’t miss the terrific Dinner & Concert Packages offered by your favorite Skaneateles restaurants. Why not make Saturday “Date Night” at Brook Farm – with their gourmet Take-Out options! Check out all the options at
www.skanfest.org
“Sometimes we musicians joke that we just come back for the food.” – Michelle LaCourse, viola
FANFARE ON SALE NOW! This beautiful 3-ring binder book with stand is just $20. Buy it tonight at the concessions table or at the establishments listed. Get one for yourself and one for a friend. They make great gifts!
Also available online at skanfest.org
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Tonight’s concert is sponsored by:
Thursday, August 19
Baroque and Before
8:00 PM St. Mary’s of the Lake Skaneateles
Tonight’s guest sponsorship:
Lionheart is sponsored by Koko Fuller
LIONHEART Lawrence Lipnik, Countertenor John Olund, Michael Ryan-Wenger, Tenors Jeffrey Johnson, Richard Porterfield, Baritones Kurt-Owen Richards, Bass
El Siglo de Oro: A century of vocal music by Morales and Guerrero This program will be performed without intermission
Ave maris stella Ojos claros, serenos Sanctíssima María
Gregorian Chant Francisco Guerrero (1528-1599) Guerrero
Introit: Rorate caeli desuper Kyrie: Missa Ave Maria Gloria: Missa Ave Maria
Gregorian chant Cristobal Morales (c.1500-1553) Morales
Sancta et immaculate Offertory: Ave Maria
Guerrero Gregorian chant
Sanctus: Missa Ave Maria Agnus Dei: Missa Ave Maria Communion: Ecce virgo concipiet
Morales Morales Gregorian chant
Pan divino, gracioso Pastor, quien madre virgen ¿Qué te dare, Señor O Virgen, quand’os miro Vana sperança Antiphon: Ave Maria Missus est Gabriel
Guerrero Guerrero Guerrero Guerrero Guerrero Gregorian chant Morales
LIONHEART records for Koch International and is represented exclusively by Bernstein Artists, Inc.
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The Skaneateles Festival is made possible with public funds from the New York State Council on the Arts, a state agency.
From the Artistic Directors
Week at a Glance… Turn back the clocks this week for some of the earliest music the Festival has ever presented, performed by some of the world’s leading exponents of this fascinating repertoire. The amazing vocal ensemble Lionheart guides us into the mystical and spiritual world of Gregorian chant, and will also sing other music from Renaissance Spain. Even the reverberant acoustic of St. Mary’s church will enhance the special aura of this music. On Friday the period instruments and musicians of NYS Baroque give the Festival a taste of Baroque music performed in original style, always an enlightening experience for those more accustomed to hearing it played on modern instruments. Finally, our Festival Chamber Orchestra provides the modern approach to ancient music and styles, from Handel’s beloved “Water Music” (a perfect lakeside accompaniment) to Stravinsky’s 20thcentury reinterpretation of Baroque style in his “Pulcinella Suite.”
Program Notes
© Lucy Cross, 2010
While we are listening to the towering fugal edifices of J.S. Bach, we seldom pause to consider that this most revered composer of the High Baroque thought of himself simply as an exponent of the great polyphonic tradition of the Renaissance. Bach, after all, was not himself aware that his was a different Period in Music History. Balance among many voices, lacelike interweaving of motifs in imitation, use and reuse of familiar themes from plainchant or folksong, and wordpainting, all were musical techniques pioneered by Josquin des Prez and his fifteenth-century contemporaries. Over the next 200 years, Italians Cipriano de Rore, Claudio Monteverdi and Arcangelo Corelli, Netherlanders Adrian Willaert and Jan Peterszoon Sweelinck, French composers Clemens non Papa and Marc-Antoine Charpentier, all continued to make use of these same techniques while greatly expanding the vocabulary of harmony and orchestration. Not least among the great followers of Josquin and antecedents of Bach were the Spaniards: Victoria, Morales, and Guerrero. If there was an ideal place for a Great Composer of the Renaissance to be born in the sixteenth century, it would have to have been Seville. Renowned throughout the Middle Ages as a center of learning and the home of seventh century bishop Isidore of Seville (or Isidorus Hyspalensis—Hyspalis being the Latin name of the city),
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8/19 Program Notes (continued)
upon whose Etymologies and other writings most medieval higher education had been based, Seville boasted an enormous Cathedral, a converted mosque as rich in intellectual and financial resources as it was in arabesque ornament. The first printed books of music were produced there; piles of Inca and Mexican gold were stored in a tower on the very Cathedral grounds. For a gifted child to be part of the choir there, and educated at the chapter school, was practically a guarantee of lifelong success. Cristóbal de Morales (c.1500-1553), though the better part of his career was to be spent abroad in Rome, was particularly proud of his home town and heritage. More than a musician, he was an academic who assiduously practiced writing in Latin, as he claimed, to prevent any of his rivals in music from accusing him of lack of cultivation. His first appointments as an adult were well-paid, as maestro de capilla in Ávila and then in Plasencia, but these appear to have been less than satisfactory, for there is no record— even though all Cathedral records were carefully kept and archived—of Morales’s whereabouts, for the four years before 1535. That year he appeared on the rolls of the papal choir in Rome, singing baritone. Pope Paul III was especially generous to musicians, and Morales seems to have enjoyed special favor. Furthermore, the choir was made up mostly of Spaniards, with whom he was apparently comfortable
enough to stay for a decade. Certainly the pay was good: one perquisite was a personal servant, and when traveling in the pope’s retinue, a horse. In addition, a singer’s stated salary was always at least doubled by special feasts subsidized by wealthy donors, and sumptuous occasions when the great powers of Europe came to visit the Pope. Morales used his time well in composing: near the end of his stay he presented the Pope with two volumes of polyphonic Masses, printed and inscribed “Christophorus Morales Hyspalensis.” Although by this time, due to the exposure he had gained before the greatest rulers of the age, his music had been distributed throughout Europe and even the New World, the expected rewards in the form of benefices or lifetime grants did not come forth, and he returned to Seville in 1545. Guerrero reported years later that he had studied then with Morales, but the lessons must have been brief; Morales was soon assigned to the Cathedral at Toledo. The salary was generous but insufficient, for the maestro de capilla was expected to pay for the room, board, and education of the choirboys. Morales had to borrow, and after two years destitution forced him to resign. In 1551 he was appointed at Málaga, but suffered even more frustration there when he discovered he could not discipline the unruly boys. Hoping to return to Toledo, he reapplied to that chapter in 1553, but before the process could be completed, Morales succumbed to ill health and died. Most probably adding to the composer’s frustration at home had been the universal Spanish custom of using
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Barb Connor and host Helga Beck at last year’s Summer Suite: Villas, Vittles & Fiddles
8/19 Program Notes (continued)
organs and other instruments to accompany the singing. At Rome and elsewhere in Europe the usual practice had always been a cappella. Listening to the vocal balance and contrapuntal perfection of Morales’s music, it is easy to imagine that temperamentally he was a purist. Surely this was not the case with the sometime pupil Francisco Guerrero (1528-1599). Belying the portrait of him by Francisco Pacheco published in the 1599 “Book of True Portraits of Illustrious and Memorable Personages, with Descriptions,” showing an elongated figure reminiscent of El Greco, with long nose and upper lip, pointed beard, and deep melancholy eyes under a four-cornered clerical cap, Guerrero’s music reveals a sunny, eclectic, and flexible disposition. Yet as Pacheco claimed in the portrait’s “Description,” Guerrero was disciplined enough to write at least a page of music every day of his life. His output of motets exceeded that of either Morales or Victoria, but also, departing from the purely liturgical practice that was theirs, he produced a prodigious number of secular songs as well, of the type we might now call “madrigals.” The texts he chose to set were written by the foremost Spanish poets of his day, including the dramatist Lope de Vega. Many of these canciones did double duty when Guerrero substituted religious (though not liturgical) words for the originals in later publications (the 1589 Canciones y villanescas espirituales in particular); such pieces are called contrafacts.
Like Morales, Guerrero had begun as a Seville Cathedral chorister. His older brother Pedro, who later enjoyed fame in his own right in Italy, was his first music teacher, but apparently Francisco largely taught himself, becoming proficient at the organ, vihuela, cornett, and harp as well as alto voice. At age 17, upon Morales’s recommendation, he was offered the position of maestro de capilla at Jaén Cathedral, but soon the duty and expense of tending to six choirboys nearly as old as himself moved him to quit the post, return to Seville, and rejoin the choir. Other bids for his services were made, but the Seville chapter valued him so much that in 1551 they appointed him assistant and successor to the maestro. But like some Princes of Wales, he had to wait a while before the position became vacant, 23 years in fact. By that time he was internationally famous, with music published in Seville, Rome, Paris, Louvain, and Venice. Guerrero was an inveterate traveler and attendant of the rich and famous. Around 1558 he presented a volume of his motets to the Emperor Charles V, visited Rome in 1581-82, and at the royal court in 1588 kissed the hand of Philip II, continuing on to Venice to oversee the publication of two large collections of music. From there he embarked for a five-month tour of the Holy Land. Pirates attacked his returning ship, and though his life was spared, they took whatever money he had left. Back in Seville, he failed to recover his former financial security, and at age 62 landed in debtor’s prison, from which the Cathedral chapter eventually had to buy his freedom. Guerrero wrote a best-selling travelogue about his trip to the Holy Land (Viage de Hierusalem, 1590, from which many of these facts are gleaned), and confessed in it that he always hoped to return. In 1599 he obtained a year’s leave for that purpose, but put off his departure until it was too late; that summer the plague struck Seville and swept him away. It was essentially the music of Francisco Guerrero that became the Baroque music of the New World. The functionality of his clear harmonies, well in advance of his contemporaries’ usage, and the effortless cantabile of his lines made his music peculiarly compatible with seventeenth-century tastes, especially in the colonies. Copies and imitations of his works are to be found in the archives of cathedrals at Guatemala City, Lima, Mexico City, and Puebla. — Notes © 2010 Lucy Cross
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Tonight’s concert is sponsored by:
Friday, August 20
The Howard L. Green Foundation, Inc. and the Columbian Foundation, Inc.
7:00 PM Prelude Concert
(for ticket holders only)
Baroque and Before
8:00 PM First Presbyterian Church
Tonight’s guest sponsorships:
New York State Baroque is sponsored by The Gladys Kreible Delmas Foundation
Prelude Concert Featuring this year’s Robinson Award winner Alicia Friedrichs Jules Massenet Mozart
Meditation from Thaïs Violin Concerto No. 4 in D Major, KV 218 with Sar-Shalom Strong, piano
Allegro
Beethoven
Piano Trio in C minor, Op. 1, No. 3 Allegro con brio
with David Ying, cello and Elinor Freer, piano
Concert Schmelzer
Serenata con altre arie
Serenata – Allemande – Erlicino – Ciaccona – Campanella – Lamento – Campanella
Buxtehude Sonata for Viola da gamba, Violone, and Continuo, BuxWV 267 Adagio – Allegro – Adagio – Presto – Allegro – Presto – Allegro
Biber
Serenada á 5, Mit der Nachtwachter Serenada – Adagio – Allamande – Aria – Ciacona – Gavotte – Retirada
New York State Baroque Debra Nagy, oboe and recorder Julie Andrijeski, concertmaster Boel Gidholm, violin Daniel Elyar, viola David Morris, cello and viol Heather Miller Lardin, violone David Yearsley, harpsichord
New York State Baroque
Intermission Vivaldi
Bach
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Concerto for Oboe and Violin in B-flat Major, RV 548 Allegro Largo Allegro
New York State Baroque
Ouverture in A minor, BWV 1067 Ouverture Rondeaux Sarabande Bourée Polonaise Double Menuet Badinerie
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New York State Baroque
The Robinson Award The Robinson Award is an annual scholarship prize awarded to a young musician who exemplifies the values cherished and embodied by David and Louise Robinson, Festival co-founders. Thirty years ago, David and Louise opened their hearts and their home to musicians, their families, and the audiences who come to hear them perform. Their lakeside home, Brook Farm, has been a gathering place and rehearsal space for musicians, and the performance venue for the Festival’s outdoor Saturday evening concerts, a tradition Louise has continued since David’s passing in 2006. Created in 2002, the award is given each year to a young musician whose character, musicianship, and community service reflect the values of David and Louise Robinson – enthusiasm and dedication to music of high quality.
2010 Winner Alicia Friedrichs Alicia Friedrichs graduated from Fayetteville-Manlius High School in June 2010. During her four years at FM, she participated in Chamber Orchestra, Pit Orchestra, Symphony Orchestra, and Choir. She has also been a member of the Syracuse Symphony Youth Orchestra for the last four years, having been named concertmaster for the 2009 1st cycle. In 2008 and 2009, she participated in the Conference All-State String Orchestra and Symphony Orchestra 1st violin sections, respectively. Last summer, Alicia attended the New York State Summer School for the Arts School of Orchestral Studies as a 2009 F. Ludwig Diehn Scholarship recipient. In 2010, Alicia was the recipient of the Bruce McCormick Music Scholarship and the Syracuse Symphony Association Sally Whittle Scholarship. Alicia is a member of the National Honor Society and Tri-M Music Honor Society. She has studied with Carol Sasson, a member of the Syracuse Symphony Orchestra, and with Nancy Fennessy. This fall, Alicia will pursue a Bachelor of Music degree with a major in violin performance at the Eastman School of Music.
Our thanks to those who have contributed to the Robinson Award Anonymous Brenton and Mary Bradly Suzanne Weitz Barb Connor David and Louise Robinson Skaneateles Area Council for the Arts
Frank and Jan Smith Karl and Peggy Smith Dr. and Mrs. Kenneth Spitzer Diane Walsh and Dick Pollak Welch Allyn
If you would like to contribute to the Robinson Award Fund, please call 315-685-7418.
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Program Notes Serenata con altre arie Johann Heinrich Schmelzer (c. 1620/23-1680) Entertainment at the Habsburg court in Vienna in the late 17th century was varied. Medieval jousts and tournaments had now given way to colorful allegorical pageants. Courtiers could enjoy both spoken and musical dramas, masque-like “disguisings” and even sleigh rides, in which members of the imperial family would take part. Ballet music was often an accompaniment to these elaborately costumed entertainments and, for a quarter of a century, Johann Heinrich Schmelzer was its chief provider. 150 of his ballet scores survive and form an important part of his legacy. Schmelzer’s industrious nature helped him rise through the court ranks, which were dominated by Italian musicians, eventually becoming Kapellmeister just months before his own death from the plague. He was known primarily as a violin virtuoso and was described (a little awkwardly) by one writer who visited the court as “the famous and nearly most distinguished violinist in all Europe.” Schmelzer’s five-part Serenata con tre arie remains among his most-played compositions. A short suite of dance-like movements, it begins by representing the pleasures of carnival season and the wild dances of the commedia dell’arte character Arlecchino. Bells toll as the suite ends with a lament for the end of carnival season and the beginning of Lent.
Sonata in D for Viola da gamba, Violone, and Continuo, BuxWV 267 (c. 1692) DIETERICH BUXTEHUDE (c. 1637-1707)
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Google Maps gives the distance from the Thuringian town of Arnstadt to the Hanseatic port city of Lübeck as a little over 250 miles, traveling in a straight line, due north. Avoiding the highway, the 20 year-old Bach made this journey on foot, in the winter of 1705. His destination was St. Mary’s church, the Marienkirche in Lübeck, where Dieterich Buxtehude had presided over the organ loft for almost four decades. Handel made a similar – though considerably shorter – pilgrimage from nearby Hamburg just two years earlier. Both composers traveled to hear the great Dane, a renowned organist and composer who had himself traveled little, yet managed to create some of the most striking and original music of the 17th century. Although our knowledge of Buxtehude’s early life is sketchy, he is believed to have crossed the Sound from Denmark to Northern Germany in 1668 to take up an appointment as organist and business manager of the Marienkirche in Lübeck. Not long afterwards, Buxtehude raised the funds to build large new galleries around two of the church’s three organs, accommodating up to 40 instrumentalists and singers. This is where much of his fine, often oratorio-like choral music was performed, in Sunday evening concerts. Today, Buxtehude is best remembered for his choral music and organ compositions. But he
© Keith Horner, 2010
Fun Fact… After deciding to retire from his post as Lübeck’s organist, Buxtehude asked Handel, Mattheson and J.S. Bach to take over for him. All refused after finding out they would have to marry Buxtehude’s eldest daughter to get the job. also wrote chamber music, of which just 21 works remain and much more is presumed lost. The D Major Sonata is the only work that Buxtehude wrote for two low string instruments and continuo, and it comes down to us in a hand-written copy made in 1692. It’s a carefully constructed piece, opening with a sequence of brief, alternating slow and quick movements. The slow movements are based on one recurring musical idea and the quicker fugal movements similarly share a musical theme. The central dance movement features the solo gamba, and it leads into a series of variations.
Serenata á 5, Mit der Nachtwachterlied (with the Night Watchman’s Song) (1673) HEINRICH IGNAZ FRANZ VON BIBER (1644-1704) “Biber seems to have been the best,” wrote the 18th century English traveler and music historian Charles Burney, “and his solos are the most difficult and most fanciful of any music I have seen of the same period.” But Burney’s words fell on deaf ears. The 17th century Bohemian composer Heinrich von Biber was all but ignored after his death, thanks to a huge cult for Corelli and other toe-tapping, more “modern” Italian violin masters. Even the site of Biber’s grave in Salzburg remains unknown. Then, a century ago, editions of his music began to appear in Austria. The composer Paul Hindemith declared Biber the greatest composer before Bach, but it was not until the 1960s that period instrument pioneers began to add Biber to their repertoire. And minor cult status arrived in the last decade or two, notably between the 350th anniversary of his birth in 1994 and the 300th anniversary of his death in 2004.
No trip to Skaneateles is complete without a visit to
DOUG’S FISH FRY 8 Jordan Street • Skaneateles, NY 13152 • 315.685.3288
8/20 Program Notes (continued)
With his earliest appointment in Moravia, Biber began to build a reputation as the most charismatic and daring of 17th century violin virtuosos. He rose to a position of some eminence as music director to the Salzburg court, with an ambition and political know-how that brought its own rewards. There was a quirky side to Biber’s composition that played out in his descriptive instrumental music. It could include the sounds of armies at war, birdsong, various farm animals and peasants walking to church. His five-part Serenada in B includes graceful dance movements and two movements (the Chaconne and Gavotte) in which the strings imitate the sound of a lute. The Chaconne also introduces the striking of the hours of nine and ten (on plucked strings), followed by a night-watchman’s song sung by a bass. It appears to be an authentic song, since the melody appears in a song-book from 1531.
Concerto for Oboe and Violin in B-flat Major, RV 548 (c. 1720) ANTONIO VIVALDI (1678-1741) Vivaldi wrote concertos for Fun Fact… just about Vivaldi was known as il Prete every instruRosso, “The Red Priest,” ment that was because of his red hair. played in his day. Never a modest man, he boasted to his friend Charles de Brosses that he could compose a concerto with all its parts in less time than it took a copyist to copy it. In the early 18th century, composers were expected to compose quickly. Patrons and audiences looked forward to new compositions and premières; concerts were put on to showcase the new rather than to reinterpret the old. Still, Vivaldi’s contemporaries recognized his fluency and skill in composition as something extraordinary. He wrote, in all, some 504 concertos. Over three-quarters of them feature a solo instrument, almost half of them for violin. For all his recognition as a composer, however, Vivaldi often received more acclaim as a violinist than as a composer. Like Corelli a generation earlier, his violin technique astonished his contemporaries. Like Paganini a century later, Vivaldi did not escape the fate of the composer-virtuoso whose virtuosity casts a shadow over his seriousness as a composer. In the quicker outer movements of the B flat double concerto, Vivaldi’s writing for oboe often mirrors that of the violin – indeed
Special thanks to the
First Presbyterian Church for their generous hospitality
Fun Fact… Although famous in his day, and “borrowed” from extensively by composers such as J.S. Bach, most of Vivaldi’s music is lost. What we have of Vivaldi today was discovered in the 1920’s, packed away in a trunk. he did later convert the concerto to be played by two solo violins. In the gently rocking siciliano slow movement, the oboe introduces the attractive, lyrical melodies, supported by violin broken chords and continuo. The concerto is one of two that Vivaldi wrote for this combination of instruments.
Ouverture in A minor, BWV 1067 (c. 1738-9) JOHANN SEBASTIAN BACH (1685-1750) As music director, or cantor, of St. Thomas’s and other churches in Leipzig, Bach had to turn out copious amounts of music for the Sunday services, religious feasts, weddings and other celebrations. Once composed, parts had to be copied and rehearsals organized. In addition to fathering enough children to form a small instrumental and choral ensemble, he spent many years organizing concerts in a coffeehouse, not far from the church school where he lodged, on Catherinstrasse, the main thoroughfare of Leipzig. By one count he planned no less than 600 of these private concerts. For more than 11 years, Bach was paid to program the music, book the musicians and direct the performances. His ensemble included some professionals, plus a good number of students. Contemporary accounts speak of about 40 musicians and indicate that performance standards were high. A wide variety of music was played at Bach’s concerts, some of it by Bach himself, some of it by other German and Italian composers of the day. Bach’s four Orchestral Suites would have been played there. They belong to a genre known as the Ouvertüre-Suite – a term that includes a mix of languages, reflecting the mix of cultural influences that came to bear on the music. In the overture of the B minor Suite, a solo instrument – flute usually, today taken by oboe – either doubles the violins or takes on the role of soloist. In it, Bach, the German contrapuntal composer, animates the pomp of the French overture with the energy of the Italian concerto. A graceful Rondeau follows, somewhat in the manner of a gavotte. A stately Sarabande is the only such dance movement in any of the four Suites. The solo instrument is given a prominent role in the second of a pair of sprightly Bourées and in the double of the Polonaise that follow. The Menuet is the most French of courtly dances. The well-known Badinerie (“Jesting”) that concludes the suite is the French counterpart to the Italian Scherzo, a virtuoso dance in the spirit of an up-tempo gavotte. — Notes © 2010 Keith Horner. Comments welcomed: khnotes@sympatico.ca
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TTonight’s concert is sponsored by:
Michael & Noreen Falcone
Saturday, August 21
Tonight’s guest sponsorships:
7:30 PM Brook Farm
Rain Location: Skaneateles High School
Robert Moody is sponsored by Michael P. Falcone David Ying is sponsored by Green & Seifter CPAs With additional support from David Lee & Co. and Stephen & Linda Chow
Baroque and Before
Media Sponsor
Respighi
Ancient Airs and Dances: Suite No. 1, P. 109
Vivaldi
Concerto for Two Cellos in G minor, RV 531
Balletto detto Il Conte Orlando Gagliarda Villanella Passo mezzo e mascherada
David Ying, cello David LeDoux, cello
Allegro Largo Allegro
Vivaldi Concerto for Four Violins in B minor, RV 580, Op. 3, No. 10, L’estro armonico Allegro Largo e spiccato Allegro
Frank Huang, violin Jeremy Mastrangelo, violin Alicia Friedrichs, violin Linda Case, violin
Intermission Handel
Stravinsky
Suite from the Water Music Overture Air Allegro Lentement
Pulcinella: Suite Sinfonia Serenata Scherzino Tarantella Toccata
Minuet Bourée Alla Hornpipe
Gavotta con due variazioni Vivo Minuetto Finale
Skaneateles Festival Chamber Orchestra Robert Moody, conductor Violin 1 Frank Huang Concertmaster Jeremy Mastrangelo Sara Mastrangelo Amy Christian Violin 2 Linda Case Susan Spafford Ainur Zabenova Karen Veverka 28
Viola Melissa Matson Wendy Richman Phillip Ying Cello David Ying David LeDoux Keiko Ying Bass Edward Castilano Michael Griffin
Flute Anne Harrow Elizabeth Shuhan Oboe John Lathwell Bassoon Gregory Quick Lisa Seischab Horn Alex Shuhan Mary Hunt
Trumpet John Raschella Barbara Hull Trombone Mark Kellogg Harpsichord Ryan Enright Harp Lacey Seiffertt
The Donald J. Grout Harpsichord, built by William Dowd, Boston 1988, is provided through the kind courtesy of St. Paul’s Episcopal Cathedral, Syracuse, NY
Program Notes Ancient Airs and Dances: Suite No. 1, P. 109 (1917) OTTORINO RESPIGHI (1879-1936) Born in Bologna, with a passion for his adopted city of Rome, Ottorino Respighi remained a proud Italian composer throughout his life. His three most celebrated tone poems, the “Roman Trilogy” beginning with The Fountains of Rome in 1915-6, evoke the past and present glories of the imperial city in sumptuous pictorial and descriptive sounds. Here, a large orchestra is brilliantly displayed by one of the great orchestrators of the 20th century. But there was a parallel side to Respighi’s opulence. Well before he moved to Rome in 1913 to teach composition at the Conservatorio di Santa Cecilia, he had begun a creative dialogue with music from the past, notably Italian music. It was to surface most successfully in 1917 with the first of three suites of Ancient Airs and Dances, a reworking of pre-existing early Italian music. Respighi’s intrinsically conservative nature jumped at the chance of preserving what he viewed as the best of the past and putting his own stamp on it. A violin concerto, the Concerto gregoriano, followed in 1921. Then came a piano concerto and several works based on Gregorian chant. In the next decade he was to make countless arrangements of Vivaldi, Tartini, Locatelli and their contemporaries and a “free adaptation” of Monteverdi’s Orfeo.
© KEITH HORNER, 2010
For the popular Ancient Airs and Dances, Respighi turned to a collection of late 16th and early 17th century pieces for lute (or guitar, in at least one case), mostly by Italian composers. He found the music in a late 19th century publication by Oscar Chilesotti. A graceful courtly dance “For Count Orlando” opens the First Suite. Its composer is the Genoa composer and lutenist Simone Molinaro. Then comes a lively triple-time Gagliarda, written by the 16th century Vincenzo Galilei, composer and theorist whose pioneering research into musical sound was passed on to his son Galileo. The delicately scored third movement is based on an anonymous, melancholy Neopolitan street song known as a Villanella. The sparkling last movement is based on more anonymous 16th century music – a lively Passo mezzo step dance and a Carnival street dance known as a mascherada.
Concerto for Two Cellos in G minor, RV 531 (c. 1720s) ANTONIO VIVALDI (1678-1741) Vivaldi wrote many of his 504 or so concertos for performance at the Ospedale della Pietà in Venice. It was one of four charitable institutions caring for orphaned or abandoned girls and women, largely supported by the nobility. With Vivaldi’s teaching, the Pietà became well known for the quality of its music-making and became a destination
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8/21 Program Notes (continued)
on the tourist map. Its renowned leader became known as the Red Priest because of the flaming color of his hair and the fact that he was ordained. His catalog includes approximately 45 double concertos, of which the G minor concerto for two cellos is one of the finest. It is Vivaldi’s only concerto for two cellos and is believed to date from the 1720s. Its darkly sonorous opening movement initially presents the two cellos complementing one another by playing in parallel thirds and sixths. Soon we have a question-and-answer type of music-making, where each solo instrument takes a turn in the spotlight. At other times, the two imitate one another in contrapuntal passages – and this is the case particularly in the vigorous and virtuoso finale. Elsewhere, the two instruments share the musical material with one cello accompanying the other. In the central slow movement the orchestra remains silent, leaving the two cellos and continuo to play a plaintive trio sonata.
Concerto for Four Violins in B minor, RV 580, Op. 3 No. 10, (L’estro armonico) (pub. 1711) ANTONIO VIVALDI (1678-1741) The 12 concertos of Vivaldi’s L’estro armonico included some of the newest and most innovative music known to European composers. The 1711 collection established Vivaldi as the leading Venetian composer of his time. Even
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Fun Fact… Many of Vivaldi’s compositions were written for the female music ensemble of the Ospedale della Pietà, an orphanage for poor and illegitimate children where he worked between 1703 and 1740. Bach made transcriptions of six of the concertos, including the one to be played today, and told his biographer that they had been “an indispensable guide.” Vivaldi put L’estro armonico together carefully, to display maximum variety. Its title translates loosely as The Harmonic Fancy. The concertos are arranged in four groups of three, each containing a solo violin concerto and others for multiple instruments – for two or four solo violins, some with additional cello solo. Like the rest of the concertos in the set, the B minor concerto has three movements. Its brisk opening movement includes imitative entries for all four violins, together with parallel and cascading sequences to showcase the skill of all four violins. Vivaldi also includes trills and other ornamentation in each Fun Fact… solo line, which produces Haydn was a rich texture when a choir boy at repeated across the four Vivaldi’s funeral. soloists. Similarly, the
8/21 Program Notes (continued)
shimmering arpeggios of the slow movement produce a striking effect as they contrast with the somewhat stark orchestral chords that frame the movement. The dance-like finale continues to mine rich seams of contrasting textures.
Suite from the Water Music (c. 1717) GEORGE FRIDERIC HANDEL (1685-1759) Handel’s Water Music made a big splash when it was first performed, by royal command. “At about eight in the evening the King repaired to his barge,” the Prussian ambassador reported. “Next to the King’s barge was that of the musicians, about 50 in number – trumpets, horns, oboes, bassoon, German flutes [transverse flutes], French flutes [recorders], violins, and basses, but no singers. The music had been composed specially by the famous Handel… his Majesty’s principal court composer. His Majesty’s approval of it was so great that he caused it to be played three times in all; twice before and once after supper.” So, after two appetizers of Handel’s Water Music, George I eventually dined around 1 in the morning, arriving back at St James’s Palace around 4:30am, with Handel’s music still ringing in his ears. The musicians were happy; the bill for the evening’s music amounted to a not inconsiderable £150. The river Thames was the setting for other pageantry and ceremony in 18th century London. The Lord Mayor’s Parade would see decorated barges floating downstream. When the King went to Parliament or to the Tower of London, he would do it in style, on the river. The July 1717 water party, however, was a special event: “So great a number of boats, that the whole river in a manner was cover’d,” The Daily Courant reported. It’s likely that Handel had already composed music for other royal river parties in the previous two years, quite possibly including movements from the compilation we now know as the Water Music. The work is in a rich variety of styles, with varied instrumentation. Its 19 pieces do not have a precisely known sequence but are usually arranged into three suites, following 18th century practice and publication. Today’s performance presents music from the extended F major suite featuring oboes, bassoon and horns and the regal D major suite featuring trumpets and horns
Fun Fact… Stravinsky has a star on the Hollywood Walk of Fame and posthumously received the Grammy Award for Lifetime Achievement.
Pulcinella: Suite (1919-20) IGOR STRAVINSKY (1882-1971) In 1919, the Russian impresario Diaghilev invited Stravinsky to build on the success of their collaborations with The Firebird, Petrouchka and The Rite of Spring by
Youngsters enjoying FamilyFest taking a look at some 18th century music. Diaghilev’s suggestion was to be a turning point in Stravinsky’s life. “Pulcinella was my discovery of the past, the epiphany through which the whole of my late work became possible. It was a backward look, of course – the first of many love affairs in that direction – but it was a look in the mirror, too.” What Stravinsky saw in that mirror was neo-classicism. This was to be the path that led him away from the blind alley of Russian exoticism, romantic subject matter and large orchestras. Pulcinella gave him an opportunity to work with a different ensemble. Stravinsky’s version of the 18th century orchestra would have no clarinets, no percussion. The strings would be divided Fun Fact… into the 18th Stravinsky was named century small and one of Time Magazine’s larger group, the 100 most important people concertino and of the 20th Century. ripieno. There would be just 33 players in all. The source material that Diaghilev provided was trio sonatas, harpsichord sonatas, a popular canzona Se tu m’ami, together with a half dozen arias from operas. Most of it was already published and attributed to the 18th century Italian composer Giovanni Battista Pergolesi (1710-1736), though we now know that about half of it came from the pens of other composers. Stravinsky was receptive to the idea of a ballet that would describe the amorous adventures of Pulcinella, inspired by the music of Pergolesi. His one-act ballet includes 18 numbers, beginning with an overture. In it, he made sure that his own voice is never lost in his reworking. He often adopts Pergolesi’s melodies and bass line with little alteration. But he gives 18th-century harmonies new life. Rhythms and structures are redesigned and chords rebuilt in such a way that they would sound strange indeed to 18th-century ears. He subsequently adapted three Suites for violin and cello from the music to Pucinella. The concert suite of 1922 uses the same small orchestra, without singers, and consists of 11 numbers. — Notes © 2010 Keith Horner. Comments welcomed: khnotes@sympatico.ca
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Today’s concert is sponsored by:
Wednesday, August 25 5:30 PM Anyela’s Vineyards
Today’s guest sponsorships:
Sylvan Winds is sponsored by Don & Chacea Sundman
White Nights
Skaneateles
Special Event
Winds and Wine A free Community Event at
Anyela’s Vineyards Hailed by the New York Times for “…its venturesome programming and stylishness of performance,” the Sylvan Winds has appeared at Carnegie Hall, Lincoln Center’s Mostly Mozart Festival and the Caramoor Music Festival. Now they’ll be performing right here in Skaneateles at beautiful Anyela’s Vineyards. Stop by after work for a 40 minute sampling of outstanding music together with breath-taking views of the lake. A FREE event, perfect for all ages!
Sylvan Winds Svjetlana Kabalin, flute Kathy Halvorson, oboe Pascal Archer, clarinet Erik Holtje, bassoon Nancy Billman, horn
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The Skaneateles Festival is supported in part by an award from the National Endowment for the Arts.
2009 Robinson Award Winner Nicholas Hrynyk with Claire Howard, Louise Robinson, Elinor Freer and David Ying
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33 7/13/10 12:07:25 PM
Tonight’s concert is sponsored by:
Colleen & Dan Fisher and Mark & Lou Bitz
Thursday, August 26
White Nights
8:00 PM First Presbyterian Church
Tonight’s guest sponsorships:
Elinor Freer and David Ying are sponsored by Green & Seifter CPAs Spencer Myer is sponsored by the Fletcher Foundation Ying Quartet is sponsored by George Bain
Caprice on Danish and Russian Airs, Op. 79 for Flute, Clarinet, Oboe and Piano Saint-Saëns
Svjetlana Kabalin, flute Kathy Halvorson, oboe Pascal Archer, clarinet Spencer Myer, piano
Schnittke
Piano Quintet Moderato In Tempo di valse Andante Lento Moderato pastorale
Ying Quartet Frank Huang, violin Janet Ying, violin Phillip Ying, viola David Ying, cello Elinor Freer, piano
Intermission
Tchaikovsky
String Quartet No. 1 in D Major, Op. 11 Moderato e semplice
Ying Quartet
Andante cantabile Scherzo (Allegro non tanto e con fuoco) Finale: Allegro giusto
The Ying Quartet is represented by Melvin Kaplan, Inc.
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The Skaneateles Festival is made possible with public funds from the New York State Council on the Arts, a state agency.
From the Artistic Directors
Russian music is such a vast treasure trove on its own that it is
Week at a Glance… very easy to spend a week of concerts admiring its riches. From Tchaikovsky’s luscious melodies to the darkly searing emotionalism of Shostakovich and Schnittke, the greatest of Russian music never fails to provoke the ears and hearts of listeners. The Sylvan Winds and pianist Spencer Myer will bring to life the colorful and theatrical writing of Rimsky-Korsakov and others. Bookended by more terrific tunes from Borodin and Tchaikovsky, the week concludes on Saturday with a special treat: a piece of genuine musical theater, Stravinsky’s “The Soldier’s Tale,” performed with readings by vocal artists Robert Allen, Jonathan English, and Phil Eisenmann.
Program Notes Caprice on Danish and Russian Airs, Op. 79 for Flute, Clarinet, Oboe and Piano CAMILLE SAINT-SAËNS (1835-1921) A prolific composer, Camille Saint-Saëns said that he produced music as naturally as an apple tree produces apples. The apple tree first blossomed and bore fruit when he was three. A few years Fun Fact… later, it Saint-Saëns was discovered had grown to have perfect pitch at the branches: age of two; he had learned to when the read and write by age three. 10 year-old Saint-Saëns made his début as a pianist at a leading Parisian salon, the young prodigy offered any Beethoven sonata his audience cared to name as an encore. The full crop totaled over 169 published works, including the first music by a major composer for film. Then there were his writings on music, a book of philosophy, essays on botany, zoology and the occult, several plays and much poetry. A monograph on the
© Keith Horner, 2010
Fun Fact… Saint-Saëns was such an astronomy enthusiast that he planned concerts around astronomical events such as solar eclipses. archaeology of the classical theatre is said to be a creditable work of scholarship. Also a great traveler, Saint-Saëns dashed off his Carnival of the Animals in a few days while on vacation in Austria. His Caprice on Danish and Russian airs dates from a series of concerts he gave during one of his visits to Russia, in April 1887. Knowing that the Danish-born Tsarina Maria Feodorovna was to be present at a concert in St. Petersburg, Saint-Saëns built the piece around a sequence of melodies from both countries. What distinguishes the music from countless potpourris of the period is the skill and humor that Saint-Saëns brings to its writing. The introduction is a striking combination of piano concerto virtuosity and operatic recitative. The brilliant wind writing throughout the 11-minute piece is tailor-made for flute, clarinet and oboe – and for the three well-known wind soloists from Paris who joined the pianist-composer on his Russian tour. Saint-Saëns and his flutist, Paul Taffanel, were able to reconstruct the piece when it was lost in a fire at the Opéra-comique in Paris a few weeks later.
Piano Quintet (1972-76) ALFRED SCHNITTKE (1934-1998)
Jigger Roth and granddaughter enjoying FamilyFest
Schnittke was one of a rebellious group of Soviet composers who, while looking to the West and to the past for inspiration, remained fundamentally Russian at heart. Living much of his life within a culture of denial, Schnittke nevertheless worked his way through a number of musical styles and techniques that attracted negative labeling. “Having arrived at the final station,” he reflected on his 50th birthday, “I decided to get off the already overcrowded train. And, since then, I have tried to proceed on foot.” The Piano Quintet is a pivotal work in Schnittke’s journey and its composition led to a longer-than-expected stop along the route, taking more time than any other piece in 35
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his large catalog to compose. Begun in 1972 immediately after the death of his mother as a memorial to her, Schnittke could only complete the work four years later. By this time the work had become a reflection on both her life and his own loss at her death – and, in the process, his musical style had profoundly changed. The first movement of this distinctly Russian work came easily. Schnittke described it as “a piece of simple yet at the same time earnest character in her memory.” After writing the movement, with its melancholy, almost frozen theme, Schnittke found it difficult to proceed. Sketches evolved into his Requiem, a separate work altogether, as the composer struggled to find a simpler, more direct musical language. In the process, he re-examined elements of the musical past and present, and the intensity of the experience became all the more vivid with the death of Shostakovich in August 1975. Although Schnittke never said so, the music bears witness to fact that his Piano Quintet forms a double homage to both his mother and to a fellow composer whose own Piano Quintet is a key work in the history of Russian music. The breakthrough came in 1976 when Schnittke wrote the second movement, a bitter-sweet waltz based on the four-note B-A-C-H motif, which evolves into a lament of great poignancy. Its bleak, static mood continues in the third movement, gradually increasing in intensity into a
dramatic threnody for strings, Fun Fact… over a constantly Tchaikovsky conducted tolling piano the inaugural concert note. In the slow at Carnegie Hall. fourth movement, the Quintet’s motto theme, shared between piano and strings, rises to an agonizing intensity. As the finale begins, a new theme of the utmost simplicity and tranquility, reminiscent of the call of a hunting horn, is repeated 14 times and provides the foundation for a mirror-image structure. At the end, the music, full of painful memories and echoes from the past, dies away into itself as the pianist continues to play, silently.
String Quartet No. 1 in D Major, Op. 11 (1871) PYOTR IL’YICH TCHAIKOVSKY (1840-1893) “They don’t want to know anything else!” Tchaikovsky said of the slow movement of his First String Quartet, more than a decade after he had composed it. The movement became an immediate hit for the impoverished 31-year-old composer and it was soon taken up by the violin virtuoso Leopold Auer. Other arrangements quickly followed and Tchaikovsky himself made a transcription for cello and orchestra. Like Borodin’s Nocturne (which you can hear on Saturday) and Samuel Barber’s Adagio, Tchaikovsky’s Andante cantabile quickly became the favorite that everyone knew without knowing its origins as part of a string quartet. The first of Tchaikovsky’s three string quartets is the very first major quartet by a Russian composer. The piece immediately shows Tchaikovsky’s mastery of string writing. Structurally, his model is the classical quartet and Tchaikovsky follows many of its conventions and proportions to the letter. The first movement unfolds with something of Schubert’s sense of space and expansiveness. The musical language, however, is unmistakably that of Tchaikovsky – which is a rather remarkable achievement given his documented dislike of the medium of the string quartet and the few weeks it took him to write the work in February 1871. The wistfully nostalgic Andante cantabile is based on a folk song that Tchaikovsky heard in the country, a melody he had already included in a collection of folk songs he arranged for piano duet. In the quartet, he skillfully weaves the melody into the fabric of the music and combines it with an original melody of his own. The gentle ending of the movement contrasts with the vigorous Scherzo and exuberant finale. Tchaikovsky never lets his ambivalence to the medium of the string quartet show. He was proud of his First Quartet and wrote in his diary: “Perhaps I was never so flattered in my life, nor was my pride as a composer so stirred, as when Leo Tolstoy, sitting beside me, listening to the Andante of my First Quartet, dissolved into tears.” — Notes © 2010 Keith Horner. Comments welcomed: khnotes@sympatico.ca
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Tonight’s concert is sponsored by:
Friday, August 27
White Nights
8:00 PM First Presbyterian Church
Liadov
Dr. Ellen Bifano & John Gazda Tonight’s guest sponsorships:
Spencer Myer is sponsored by the Fletcher Foundation Sylvan Winds is sponsored by Don & Chacea Sundman Ying Quartet is sponsored by George Bain
Eight Russian Folksongs, Op. 58
Religious Chants: Moderato Christmas Carol Kolyada-Malyada: Allegretto Melancholy song: Andante Humorous song: Allegretto “I danced with a gnat” Legend of the birds: Allegretto Lullaby: Moderato Round Dance: Allegro Village Dance Song: Vivo
Rimsky-Korsakov
Sylvan Winds Svjetlana Kabalin, flute Kathy Halvorson, oboe Pascal Archer, clarinet Erik Holtje, bassoon Nancy Billman, horn
Quintet in B-flat Major for Piano and Winds Allegro con brio Andante Rondo: Allegretto
Svjetlana Kabalin, flute Pascal Archer, clarinet Erik Holtje, bassoon Nancy Billman, horn Spencer Myer, piano
Intermission
Shostakovich
String Quartet No. 9 in E-flat Major, Op. 117 Moderato con moto Adagio Allegretto Adagio Allegro
The Ying Quartet is represented by Melvin Kaplan, Inc.
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Ying Quartet Frank Huang, violin Janet Ying, violin Phillip Ying, viola David Ying, cello
Program Notes Eight Russian Folksongs, Op. 58 (1906) (arr. by V. Gurfinkel for wind quintet) ANATOLY LIADOV (1855-1914) Famous for not composing The Firebird when Diaghilev offered the idea to him before turning to Stravinsky, Liadov was a born procrastinator. Prokofiev, who studied with him at the St. Petersburg Conservatory, had no time for his teacher. “Lazy by nature and rather indifferent towards his teaching” Prokofiev wrote, dismissing him as “short, squat, and bald, with a soupçon of a mustache and beard.” Liadov’s chronic shyness and ruthless self-criticism also contributed to his laziness. His lack of ambition made him feel like “a grain of sand” alongside the “gigantic mountain” of his teacher and subsequent colleague Rimsky-Korsakov. He was intimidated by Rimsky-Korsakov’s facility and the ease with which he, Tchaikovsky and Glazunov composed. Liadov, however, was able to escape his daily problems into a world of fantasy and the supernatural. “Art is a fantasy, a fairy tale, a dragon, a water fairy, a wood demon,” he said. “Give me something unreal and I shall be happy.” Liadov was most comfortable with miniature forms, not the large-scale operas, symphonies and concertos that could have brought more fame. Many of his compositions are songs or piano pieces. His most famous orchestral pieces are three short, attractive tone poems with descriptive programs, based on Russian folk tales: Baba-Yaga, The Enchanted Lake and Kikimora. He was similarly drawn to folk song, collecting them on expeditions with the Russian Imperial Geographical Society. A substantial part of his catalog includes folk song settings and arrangements. Originally scored for orchestra, the Eight Russian Folksongs, Op. 58 are here arranged for wind quintet. Liadov’s transcriptions of the songs are fastidiously made, carefully preserving the integrity of the original melodies, clothing them with constantly changing clothes. His instrumentation is no less carefully considered. The eight songs flow from one to another and speak with a distinctively Russian voice. Liszt, when sent some of Liadov’s piano pieces in 1879 replied to their composer: “All your compositions bear the stamp of distinction and good taste.”
Quintet in B-flat Major for Piano and Winds (1876) NIKOLAI RIMSKY-KORSAKOV (1844-1908) More than a decade before Saint-Saëns surprised Russian audience with the novelty of hearing wind instruments in chamber music (with the short Caprice in yesterday’s concert), Nikolai Rimsky-Korsakov blazed a trail with his delightful Quintet for Piano and Winds. He wrote it as a spur-of-the-moment entry into a chamber music competition announced in 1876 by the Russian Musical Society. It was a curious decision since he had already completed a Sextet for Strings specifically for this purpose. In his autobiography, Rimsky-Korsakov admits that he wrote the
© Keith Horner, 2010
Fun Fact… Rimsky-Korsakov was a naval officer who wrote his First Symphony on a three-year naval voyage circumnavigating the globe. string piece more as a technical exercise, with lots of complex fugal writing, ingenious accompaniment and counterpoint: the sort of piece, in other words, that was calculated to impress a competition jury. The String Sextet did not, however, add up to a personal statement. “In it,” he wrote, “I still was not myself.” So he immediately set about writing the Quintet – and this was a bold decision in itself since there was no tradition of wind chamber music in Russia. The main precedents that Rimsky-Korsakov would have likely known were the Quintets by Mozart and Beethoven. But in place of the oboe they wrote for, RimskyKorsakov chose flute, together with clarinet, horn, bassoon and piano. Even so, he felt when the composition was complete, some individuality was still missing, though he felt it “freer and more attractive than the Sextet.” Rimsky-Korsakov was 32 at the time and had spent much of his time from the age of 12 at a naval college and as a midshipman aboard the man-‘o-war Almaz, even seeing Niagara Falls during one of his tours of duty. Simultaneously, in 1861, Balakirev had begun to mentor him in musical studies and had introduced him to Mussorgsky and the other young composers who would shortly help one another carve out a Russian nationalist voice. Although lacking a Conservatory education, Rimsky-Korsakov was now informally trained as a composer and blessed with an inquiring mind, vivid imagination and determination to succeed. In 1871 he was offered a professorship at the St. Petersburg Conservatory. “Having undeservedly become a conservatory professor, I soon became one of its best students,” he wrote in his autobiography, admitting to keeping his studies just ahead of the classes he taught. Not long afterward, the Navy created the post of Inspector of Naval Bands for Rimsky-Korsakov and, with characteristic thoroughness, he began to learn various wind instruments to better facilitate both sides of a busy professional life. His curiosity to put this newly acquired knowledge to the test led to the composition of his Quintet in 1876. There’s a neo-classical feel to much of the opening movement, with its effervescent first theme and broader second. Rimsky-Korsakov described it as “in the classic style of Beethoven.” He thought the fugal writing in the slow movement worthy of mention. It’s here and in the preceding wind chorale (both of which evolve out of the opening horn melody) that the music is at its most Slavic. The rondo finale includes written-out cadenzas for four of the instruments, each of which is interrupted in turn by bouncy octaves from the bassoon and, eventually, a reprise of the main theme, with its jaunty bassoon accompaniment. 39
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8/27 Program Notes (continued)
Rimsky-Korsakov did not receive a prize in the chamber music competition for this highly effective Quintet – the pianist was not up to the task and could not even play the piece to the end. And we may be left wondering why a professor of composition and instrumentation at the St. Petersburg Conservatory would enter a musical competition in the first place.
String Quartet No. 9 in E-flat Major, Op. 117 (1964) DMITRI SHOSTAKOVICH (1906-1975) Shostakovich’s last decade was marked by a long and painful withdrawal from public life. This turning inward affected his music. Increasingly, he chose to write chamber music, completing seven deeply personal quartets in the same period that he wrote just two works in the more public forum of the symphony. As he confronted the bleak prospects of both personal mortality and state repression, Shostakovich sought out private truth and eternal spiritual values through the small-scaled, intimate and often complex world of the string quartet. As his musical language grew more elusive, so the integrity of his vision appears more acute and defined. It was a profound journey, comparable to that of the deaf and isolated Beethoven. The Ninth and Tenth quartets, related to one another and both written in 1964, mark the beginning of this journey. The five movements of the Ninth seamlessly evolve from one into another. The opening movement is built around two themes. The first is anxious and pressing, on the violin, over low, held notes from the viola and cello.
Fun Fact… Many composers, including Beethoven, Shostakovich, Brahms, and Villa-Lobos, have paid tribute to Bach using the B-A-C-H motif. The second, using similar thematic material, is a quirky little march from the cello, lighter and airier and a little enigmatic. Development of these two ideas gives way to a short but deeply felt Adagio, based on a solemn, modal theme. As it concludes, a fragment of the modal theme is spun into the bouncy opening of the succeeding scherzo (Allegretto). This driving movement has an arch-like form (A-B-C-B-A) that mirrors the overall five-movement shape of the quartet itself. The bouncy violin figure then morphs into a rather melancholy rocking figure at the beginning of a second Adagio. This slow movement has something of the character of a recitative, twice punctuated by harsh, pizzicato chords. The finale opens with great forward momentum and has the shape of a large-scale sonata structure. It is twice as long as previous movements. Themes and fragments from earlier in the quartet are revisited and forged into a brusque fugue. Its progression is interrupted by the anguished recitative from the previous movement, now played by the cello. More harsh pizzicato chords from all the instruments lead to an energetic recapitulation where the bouncy violin theme from the scherzo drives the music forward with a sense of finality. — Notes © 2010 Keith Horner. Comments welcomed: khnotes@sympatico.ca
Christmas Suite host Noreen Falcone with Festival Board President Dave Birchenough
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Tonight’s concert is sponsored by:
Saturday, August 28 7:30 PM Brook Farm
White Nights
Rain Location: Skaneateles High School
Tonight’s guest sponsorships:
Joshua Weilerstein is sponsored by Bruce & Linda Kenan David Ying is sponsored by Green & Seifter CPAs With additional support from James & Salli Tuozzolo Media Sponsor
Borodin Notturno (arr. Sargent)
Stravinsky L’Histoire du Soldat (The Soldier’s Tale) Part I: The Soldier’s March Airs by a Stream The Soldier’s March (Reprise) Pastorale Airs by a Stream (Reprise) Part II: The Soldier’s March (Reprise) The Royal March The Little Concert Three Dances: Tango, Valse, Ragtime The Devil’s Dance Little Chorale The Devil’s Song Great Chorale The Devil’s Triumphal March
Michi Wiancko, violin Edward Castilano, bass Pascal Archer, clarinet Erik Holtje, bassoon Wesley Nance, trumpet Mark Kellogg, trombone Michael Burritt, percussion Robert Allen, the Soldier Jonathan English, the Narrator Phil Eisenman, the Devil Joshua Weilerstein, conductor
Intermission Tchaikovsky Serenade for Strings in C Major, Op. 48 Pezzo in forma di Sonatina: Andante non troppo – Allegro moderato Waltz: Moderato. Élégie: Larghetto elegiaco Finale. Tema russo: Andante – Allegro con spirito
Skaneateles Festival Chamber Orchestra Joshua Weilerstein, conductor Violin 1 Michi Wiancko Concertmaster Melissa Chung Andrew Bergevin Amy Christian Angel Ouyang 42
Violin 2 Shannon Nance Susan Spafford Chloe Fedor Janet Milnes
Viola Melissa Matson Wendy Richman Phillip Ying
Cello David Ying Lindsay Groves Keiko Ying Bass Edward Castilano
The Skaneateles Festival is made possible in part by funding from Onondaga County.
Program Notes
© KEITH HORNER, 2010
Notturno (1881) ALExANDER BORODIN (1833-1887), arr. MALCOLM SARGENT It is strange to think that Borodin was posthumously awarded a Tony Award for this much-loved piece in 1954. It was one of a number of the Russian composer’s best tunes that Robert Wright and George Forrest hijacked for their Broadway “musical Arabian night” Kismet. The duo transformed Borodin’s Notturno into And This is My Beloved, while the hit Stranger in Paradise was lifted out of the Polovtsian Dances from Borodin’s opera Prince Igor. The opera’s big Act 3 Trio became The Olive Tree. For all the richness and color of his melodic writing, however, Borodin had doubts. He told Franz Liszt that he considered himself a “Sunday musician.” By training, he was a chemist. His work as a researcher and professor at the St. Petersburg Academy of Medicine and Surgery included over 40 research projects that carried his name. As a composer, he became the youngest member of a group of nationalist Russian composers known as Kutchka, “The Mighty Handful.” Borodin, however, was never blinded by musical nationalism. He was also able to see what was good in European music and add to its achievement. His two string quartets do exactly that. The Second (where we find the Notturno) was written in just two months in the
summer of 1881. It is dedicated to his wife, Ekaterina, as a 20th-wedding anniversary gift. From the beginning, the work has been portrayed as a programmatic description of their love. Legend has it that the slow movement, with its yearning ultra-romantic melody and love duet between cello (Borodin’s own instrument) and violin, looks back at their first meeting. This comes through in today’s arrangement for string orchestra, made by the English conductor Malcolm Sargent in 1950.
L’Histoire du Soldat (The Soldier’s Tale) (1918) IGOR STRAVINSKY (1882-1971) The Soldier’s Tale was born of necessity and what Stravinsky called “shoe-string economics.” He spent the First World War in Switzerland. Concert performances of his music had dried up. His music publishers were based in Berlin and not sending him royalties. He had no access to his family estates in Russia and performances of his ballets were few and far between. He had been working with the Swiss novelist Charles-Ferdinand Ramuz on a number of minor projects, mostly translations. Then, in 1918, Stravinsky and Ramuz decided to collaborate on a great hybrid project: “Soldier’s Tale – to be read, played and danced, in two parts” is the description that would be printed in the score. A Narrator tells the Soldier’s story both between musical numbers and, from time to time, while the music is playing.
The SkaneaTeleS FeSTival recognizeS The generouS SupporT oF The
Thank you for our P.A.C.E. funding. P.A.C.E. Program for Arts Capacity & Excellence is designed to encourage arts organizations to work on strategic organizational issues and build long-term sustainability. 43
8/28 Program Notes (continued)
Home on leave, the soldier rashly sells his violin (or soul) to an old man with a butterfly net (the Devil) in exchange for a magic book of upcoming stock exchange prices. Encountering a princess, the soldier plays her a tango, a waltz and a ragtime tune and, as in all good tales, she then falls into his arms. “My original idea,” Stravinsky explained, “was to transpose the period and style of our play to any time and 1918, and to many nationalities and none, though without destroying the religio-cultural status of the Devil. Our soldier, in 1918, was very definitely understood to be the victim of the then world conflict.” So Stravinsky’s allegorical fairy tale – a sort of Faust tale in miniature – was designed with a contemporary subtext, even though its presentation resembled that of a medieval mystery play, with few players and a handful of props. The Soldier and Devil speak, act and dance. The Narrator plays the role of Greek chorus. In some versions the Princess mimes and dances (although not in tonight’s performance). A band of seven musicians sits to one side of the stage, with the Narrator on the other. The idea was that the production would tour easily, even to the smallest locations. Ernest Ansermet, a mutual friend, conducted the première at the Municipal Theatre in Lausanne, September 28, 1918. Financial backing was provided by Werner Reinhart, a wealthy Swiss music-lover, from Winterthur. While Stravinsky and his collaborators joked that they should
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mount the show on the back of a cart and tour it round Swiss towns and villages like a band of medieval mummers, the great Spanish flu pandemic put an end to their dreams. The seven instrumentalists (pairings of clarinet and bassoon, trumpet and trombone, violin and double bass, plus percussion) are virtually a ragtime band. Jazz had not yet hit Europe and Stravinsky had not heard any. He later said that sheet music gave him an idea of the rhythmic idiom that he went on to incorporate into the score as “an essay in jazz portraiture.” Klezmer sounds are also in the score, gypsy-inspired fiddling and stylized versions of dance tunes like the tango and waltz. Stravinsky’s band contains the treble and the bass of the string, woodwind and brass sections of the orchestra and, significantly, no piano. He felt that including a piano would either give his score the feel of a piano arrangement or turn it into a vehicle for piano virtuosity. “The characteristic sounds of The Soldier’s Tale are the scrape of the violin and the punctuation of the drums,” Stravinsky said. “The violin is the Soldier’s soul and the drums are the diablerie.”
Serenade for Strings in C Major, Op. 48 (1880) PYOTR IL’YICH TCHAIKOVSKY (1840-1893) In the summer of 1880, Tchaikovsky completed two very different works. The first was the Festival Overture 1812 – “very loud and noisy and written without any warm feelings of love,” as Tchaikovsky unambiguously put it. The Serenade for Strings, on the other hand, was written from
8/28 Program Notes (continued)
inner compulsion. “This is a piece from the heart,” Tchaikovsky wrote to his patron, “and so, I venture to say, it does not lack artistic worth.” The Serenade has been among Tchaikovsky’s most popular works since its first performance. The title evokes memories of Tchaikovsky’s idol, Mozart, and the work used to be dismissed as rococo pastiche à la russe. But that is only part of the picture. In the precisely crafted, symmetrical movements, the clarity of textures, and the ingratiating melodies Tchaikovsky certainly tips his hat to aspects of Mozart that he loved. At the same time, the Russian nationalist side of Tchaikovsky is no less clearly stated,
without the distraction of a descriptive program. The introduction of the finale is based on a work song from the Volga River and the main theme of the same movement is in the rhythm of the lively Russian dance known as the trepak. Tchaikovsky had arranged both these folk songs for piano duet a decade earlier.
So Tchaikovsky’s individuality remains strong even as he writes the sort of music he might have written were he alive in the 18th century. The descending dance-like trepak theme is really the seed from which all four movements of the work grow. A slow version of the same four notes is heard at the very beginning of the Serenade – here broad, magisterial, and soulful. This is transformed into the elegant second theme of the same movement. The music then follows the pattern of the classical sonatina – heavy on grace, charm and restatements of the themes and light on development of motifs within the themes. Both the celebrated Waltz and the deeply felt Elegy are subtly bound to the outer movements since their respective themes are again based on a rising version of the trepak theme. The finale appears to begin reluctantly, rising out of memories of the Elegy with the first of its Russian themes. In the THANK YOU FOR grand climax of the Serenade, the opening of the Serenade ANOTHER and the haunting theme of the Elegy both return. TheYEAR OF connection between all the themes in the Serenade is BY THE LA CHAMBER MUSIC made clear, and the unity of the work is complete. — Notes © 2010 Keith Horner. Comments welcomed: khnotes@sympatico.ca
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Hilary and Friends
Thursday, September 2
Hilary Hahn
8:00 PM Skaneateles High School
Tonight’s concert is sponsored by:
is generously sponsored by:
Sieglinde Wikstrom
Doug Sutherland & Nancy Kramer; Franklin Properties; Sutton Real Estate; Testone Marshall Discenza CPAs
Tonight’s guest sponsorships:
Robert deMaine is presented in memory of Robinson Gourley Valentina Lisitsa is sponsored by Drs. Lynn Cleary & David Duggan With additional support from Gilbert, Stinziano, Heintz & Smith, P.C.
Kodály
Duo for Violin and Cello, Op. 7 Allegro serioso, non troppo Adagio
Hilary Hahn, violin Robert deMaine, cello
Maestoso e largamente ma non troppo lento:
Liszt
Presto
Totentanz (Dance of Death), S. 525 Valentina Lisitsa, piano
Intermission
Mendelssohn
Trio No. 1 in D minor, Op. 49 Molto allegro e agitato Andante con moto tranquillo
Hilary Hahn, violin Robert deMaine, cello Valentina Lisitsa, piano
Scherzo: Leggiero e vivace Finale: Allegro assai appassionato
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The Skaneateles Festival is made possible with public funds from the New York State Council on the Arts, a state agency.
From the Artistic Directors
We’ve all enjoyed following Hilary Hahn’s illustrious career since her first appearances at the Festival as a budding young star. She returns this year as one of the world’s top violinists to perform in chamber music concerts with musical friends Valentina Lisitsa and Robert deMaine. The concerts Thursday and Friday reflect Hilary’s broad musical interests, from all-time favorites like Mendelssohn’s D minor Trio, to Kodaly’s rustic Duo for Violin and Cello, and even unusual fare like the rebellious Violin Sonata of George Antheil. Closing this year’s Festival, she also joins conductor Daniel Hege and the Festival Chamber Orchestra for Mozart’s 5th Violin Concerto, the “Turkish.” Enjoying the artistry of remarkable musicians such as Hilary has happily been a regular experience for us at the Skaneateles Festival!
Week at a Glance…
Program Notes
© Keith Horner, 2010
Duo for Violin and Cello, Op. 7 (1914) ZOLTÁN KODÁLY (1882-1967) Kodály made folk song the backbone of his life’s work and musical composition. As an ardent nationalist, even when the political dramas of 20th century Hungary led him to be out of favor with those in power, Kodály saw it as his mission to bring home the native musical heritage to Hungarians. He consciously allowed elements of folk song to percolate through his own compositions. “Individual originality can be rooted only in national originality,” he wrote in 1945. Wishing the Skaneateles Festival a successful 31 st season!
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The innovative Duo for violin and cello was one of a series of chamber works Kodály wrote in his 30s, in the decade before 1920. The two string instruments had been paired before – in the Brahms Double Concerto, for example – but never before on a sonata-like scale. Kodály’s Duo inspired a series of similarly ambitious works, notably those by Ravel, Martin and Schulhoff. Its technical challenges and groundbreaking sonorities were stimulated not only by Kodály’s own knowledge of the instruments (he was a cellist) but also by two young Hungarians, violinist Imre Waldbauer and cellist Jeno Kerpely. As members of a new quartet that eventually became famous as the Hungarian String Quartet, these musicians had spent countless hours preparing the première of Kodály’s First String Quartet. They gave the première of the Duo in Budapest in 1918 and Kerpely premièred Kodály’s fiendishly demanding solo Cello Sonata in the same concert.
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9/2 Program Notes (continued)
Despite the Duo’s substantial length, Kodály’s writing is strictly disciplined and the form tautly controlled. The sonata-form opening movement is clearly rooted in Hungarian folk song. The melodies soar, passing seamlessly from one instrument to another, propelled by strong rhythms and generous rubato. The slow movement is more rhapsodic in mood, yet its main theme is presented in the form of a double fugue. The finale opens with an improvisatory section and a brief review of the theme of the second movement before launching into the exhilarating Presto, during which, if you close your eyes, you can imagine the two instruments sounding like a full string orchestra.
Totentanz (Dance of Death), S. 525 (1849, with revisions, pub.1865)
remain with him for the rest of his life. Liszt would improvise on the powerful theme through the night, as Countess Dash discovered in 1832, when the young pianist lived in Paris – before she banded together with all the tenants in the apartment building they shared to have him expelled. Liszt first put pen to paper with sketches for the Totentanz in 1839. He made many subsequent revisions over the next quarter of a century before versions for solo piano, two pianos and piano and orchestra were published in 1865. Liszt’s music is far more than a pictorial representation of death and dancing skeletons. The score takes the form of a set of sophisticated double variations. The first five substantial variations are based on the opening theme from the Dies irae. The fourth and fifth variations are expanded, leading into an extensive cadenza for the solo piano. This,
FRANZ LISZT (1811-1886) Here we have Liszt at his most Mephistophelian. The Totentanz (Dance of Death) is a series of variations on the 13th century Latin poem known as the Dies irae. The poem describes the terrors of the Last Judgement and was sung to a plainchant melody. Berlioz was the first to quote its solemn, insistent melody in a symphonic work and the 19-year-old Franz Liszt was at the première of his Symphonie fantastique on December 5, 1830. Memories of its bloodcurdling finale where a parody of the plainchant melody rings through in a tour de force of orchestral virtuosity were to
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9/2 Program Notes (CONTINuED)
in turn, introduces a second verse of the plainchant and another series of variations leading to another cadenza. The Dies irae returns triumphant at the conclusion. Russian composer Alexander Borodin told the elderly Liszt that he admired the Totentanz for its “originality of idea and form, for the beauty, depth and power of its theme . . . its profoundly religious and mystical sentiment, its Gothic and liturgical character.”
Trio No. 1 in D minor, Op. 49 (1839) FELIx MENDELSSOHN (1809-1847) Mendelssohn wrote his earliest piano trio, which remains unpublished, before he was 11. It was one of the works that recommended the young prodigy to Goethe, who remained a mentor to Mendelssohn for the rest of his life. His D minor Piano Trio is the first of two mature trios and was premièred at the Leipzig Gewandhaus, February 1, 1840. He wrote it the previous year, at the same time as a large number of other chamber works. They included the three string quartets, Op. 44, the B flat Cello Sonata, songs for solo and mixed voices, organ fugues and, as Mendelssohn himself put it in a letter, “half a Psalm.” At this time he regularly conducted the Leipzig Gewandhaus Orchestra and had recently married the beautiful Cécile Jeanrenaud. Something of the intensity of his lifestyle at this time comes through in the vitality of the D minor Trio. The
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piano writing in the opening movement is of great brilliance. Its concerto-like virtuosity adds to the urgent momentum of the music. The themes are shared equally between the instruments and lie comfortably for the musicians. Unusually, both themes of the opening movement are first heard on the cello. The piano is more to the fore in the slow movement. This is a typically Mendelssohnian mix of gentle sentiment and nostalgia and brings to mind the composer’s Songs without Words. In both, the outer sections of a slow movement share a theme and frame a more restless minor-key central episode. The third movement is again immediately recognizable as the music of Mendelssohn. It is a featherweight scherzo after the manner of those in the Octet and the incidental music to A Midsummer Night’s Dream. This whirlwind, graceful movement is one of the best from a master of the genre. The momentum continues in the finale, where an insistent rhythmic pattern underlines two of the three themes. Recognising the brilliance of Mendelssohn’s first published piano trio led Schumann to proclaim his exact contemporary “the Mozart of the 19th century.” Mendelssohn, Schumann explained, “is the one who has most clearly recognized the contradictions of the time and the first to reconcile them.” — Notes © 2010 Keith Horner. Comments welcomed: khnotes@sympatico.ca
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is generously sponsored by:
Hilary Hahn Sieglinde Wikstrom
Friday, September 3
Hilary and Friends
8:00 PM Skaneateles High School
Tonight’s concert is sponsored by:
Carl Schramm & Ellyn Brown and the Ewing Marion Kauffman Foundation Tonight’s guest sponsorships:
Robert deMaine is presented in memory of Robinson Gourley Valentina Lisitsa is sponsored by Drs. Lynn Cleary & David Duggan
With additional support from:
Robert & Christine Pierce and Jack & Judy Varney
Beethoven
Violin Sonata in F Major, Op. 24, “Spring” Allegro Adagio molto espressivo
Hilary Hahn, violin Valentina Lisitsa, piano
Scherzo: Allegro molto Rondo: Allegro ma non troppo
George Antheil
Sonata No. 1 for Violin and Piano Allegro moderato Andante moderato
Hilary Hahn, violin Valentina Lisitsa, piano
Funèbre, lento espressivo – Presto – Finale: Allegretto frenetico – A tempo barbaro
Intermission
Fritz Kreisler
Variations on a theme by Corelli Hilary Hahn, violin Valentina Lisitsa, piano
César Franck
Sonata for Cello and Piano in A minor Allegretto ben moderato Allegro
Robert deMaine, cello Valentina Lisitsa, piano
Recitativo – Fantasia (ben moderato) Allegretto poco mosso
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The Skaneateles Festival is made possible in part by funding from Onondaga County.
Program Notes Violin Sonata in F Major, Op. 24, “Spring” LUDWIG VAN BEETHOVEN (1770-1827) Of the three best-known classical Viennese composers, Beethoven was by far the worst violinist. Where Mozart and Haydn excelled, Beethoven sent a shudder down the spine of his listeners when he took up the fiddle. “Have mercy -- quit!” one of his friends once exclaimed. His pupil Ferdinand Ries remembers the experience of playing Beethoven’s violin sonatas with the composer as painful. Beethoven would become wrapped up in the music, he said, not caring about fingering mistakes and intonation. As a composer for the violin, however, Beethoven took an altogether different approach. Throughout his time in Vienna he continued to keep abreast of new developments in violin technique established in France by Giovanni Battista Viotti and his followers. In his ten violin sonatas, Beethoven addresses the balance between the two instruments in remarkably different ways. In all of them - and nowhere more so than in the fifth, the Spring Sonata - he created real duo sonatas that call for considerable technical and musical expertise from both instruments. The nickname was not given by Beethoven but it is altogether appropriate for this, arguably the best-known of all classical violin sonatas. The F major tonality of the sonata is Beethoven’s “pastoral” key and the radiant slow movement seems to look forward to the “Scene
© Keith Horner, 2010
by the Brook” of the Pastoral Symphony, written some seven years later. The whimsical Scherzo is no sooner begun than it is over, though it does inject dynamic contrast before a genial Rondo concludes the sonata. The two instruments remain in equilibrium throughout to such an extent that the Harvard scholar Lewis Lockwood suggests that the work may have been “an answer to the critics who refused to believe that Beethoven could lure them with the smooth and beautiful as effectively as he could frighten them with the bizarre and unexpected.”
Sonata No. 1 for Violin and Piano (1923) GEORGE ANTHEIL (1900-1959) The New Jersey-born composer George Antheil liked to think of himself as “the bad boy of music” and used this sobriquet for the title of his 1945 autobiography. Paris, in the 1920s, agreed and Antheil certainly embraced the spirit of the times at his Paris recital début as a pianist in October 1923. “Rioting broke out almost immediately,” he wrote in the autobiography. “I remember Man Ray punching somebody in the nose in the front row.” Antheil lived above the modish Left Bank bookstore Shakespeare & Company, for many years the hub of Anglo/American literary culture in Paris. His Ballet mécanique of 1926 formed the high point of his early success in Europe. The piece notoriously introduced airplane propellers to the concert platform and is scored for 16 synchronized player pianos, xylophones, drums and such percussion section toys as electric bells and siren. Aaron Copland was one of the pianists at the Carnegie Hall première the following year. But he had already gone into print condemning Antheil’s music for its lack of backbone and structural significance. Critic and composer Virgil Thomson, an enthusiast at first, later agreed with Copland, pinpointing Antheil’s success in Parisian nonmusical circles as “the literary man’s idea of a musical genius.” Certainly, Antheil was befriended and championed by literary Paris during the five years he lived there. The first two of his four violin sonatas (a fifth is titled Sonatina) were commissioned by poet Ezra Pound for his companion, the Irish-American violinist Olga Rudge. As a snapshot of musical life in the most artistically vibrant city in Europe in the 1920s, Antheil’s music speaks volumes. The opening movement of the First Sonata, completed weeks after his Paris début at the very theatre that witnessed the riotous première of The Rite of Spring, proves how addictive Stravinsky’s musical language remained a decade later. In it, recurring bass line patterns, repeated chords, a constantly shifting meter, and crunching chords are all whipped into a frenzy, with echoes of Bartók. Antheil builds a structure out of juxtaposed musical ideas arranged in a manner that has been compared with an artist’s arrangement of objects in a Cubist painting. The brief second movement evokes a distant, vaguely Eastern exoticism, while the funereal slow movement
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9/3 Program Notes (CONTINuED)
Variations on a theme by Corelli (in the style of Giuseppe Tartini)
makes prominent use of a modal, five-note theme and a col legno battuto effect where the wooden part of the bow is bounced on the violin’s lowest strings. The fourth movement returns to the furious sound-world of the opening, its chord clusters, irregular meters, counted rests and everlouder dynamic markings being somewhat more formidable on the page than off. Antheil and Olga Rudge gave the first performance of the first two sonatas in Paris December 11, 1923, and continued to perform the works throughout Europe in the following years before the composer returned to the States to take up a successful career in Hollywood composing film scores.
FRITZ KREISLER (1875-1962) Kreisler, for half-a-century hailed among the leading violinists of all time, also composed some 130 works in all. He came by his composing credentials legitimately. Vienna was his birthplace; Anton Bruckner was his composition teacher. His most ambitious works are a string quartet and the operetta Apple Blossoms. He soon learned to mimic the sound of the Viennese waltz in its heyday, to the point of presenting his well-known recital pieces Liebesfreud and the Liebesleid as posthumous works by the early 19th century Waltz King, Joseph Lanner. But the greatest hoax of this great violinist – and great raconteur – was a series of 17 faux-Baroque and Classical miniatures he wrote in a variety
In Memorium
Rob Gourley
Rob Gourley lived in Skaneateles for nearly forty years, making a home for his family on a farm he purchased adjacent to the camp owned by his wife Ann’s family since 1902. While his profession was as a mechanical engineer at General Electric, his passions in life were playing his beloved cello, raising horses and foxhunting, sailing, and volunteering.
Born in Highland Park, Ill., in 1920, Rob developed an interest and talent for music, playing the cello both in the high school orchestra and string quartets from his early teens. He spent his summers working as an usher at Ravinia, when the festival was primarily a summer venue for chamber music. Locally, Rob played in the Syracuse Symphony and Auburn Chamber Orchestras as well as the Anna Maria Island Community Orchestra in Florida. Rob and Ann helped to start the strings program in the Skaneateles Central School district and he served on the board for the Skaneateles Festival. Rob attended Cornell University and the University of Colorado in Boulder, graduating with a degree in mechanical engineering and served in the Army Air Corps in the Philippines during World War II. After his military service, he married Cornelia Trowbridge, of New York City. Upon her death, Rob was left a widower and parent of their two young children, Rob Jr. and Rebecca. He married Ann Pass of Syracuse in 1958 and had two more children, Amy and Heidi. Rob will be remembered for his stories, dry sense of humor, inquisitive mind, and classical music recordings playing throughout the house, whether he was in it or not. He died in March 2008, a week after his 88th birthday. On behalf of Rob Sr.’s friends and family, including his sister, Phydele Ehrlich, his children and grandchildren, it is an honor to sponsor the cellist for this evening’s performance, at the same Festival he helped support from its onset. 52
9/3 Program Notes (continued)
of styles, each attributed to an original composition by a composer from an earlier century. He toured with these delectable recital pieces, delighting audiences around the world for 30 years. When the truth about their authorship broke, a storm ensued. Kreisler rode it out, continuing to play (and publish) pieces that added variety and individuality to his recitals in an age when early music was little known and infrequently programmed. Pieces like the Variations on a theme by Corelli ring through with many of the stylistic thumbprints that made Kreisler himself such a brilliant violinist. “In the style of Tartini” – the 18thcentury virtuoso violinist-composer from Padua – may be the description that Kreisler chose for this dazzling, noble composition. But, almost a century after he wrote the piece, Kreisler’s miniature masterpiece can now claim an authenticity of its own as the work of the last of the great violinist-composers.
Sonata for Cello and Piano in A minor (1886) CÉSAR FRANCK (1822-1890) Not wishing to repeat himself, Franck tended to write just one work in each of the major forms. He was 57 years old when his Piano Quintet heralded a remarkable series of compositions for which he is now chiefly remembered. First came the Prélude, Chorale et Fugue of 1884. This majestic piano work was followed by the Symphonic Variations for piano and orchestra, the D minor Symphony, the String Quartet, and the Sonata in A, which we’ll be hearing today, originally composed for violin and piano.
As in much of his music, Franck does not pursue traditional sonata procedures in the A major Sonata. He follows Franz Liszt’s lead by using recurring themes across all four movements. Franck’s cyclic development transforms a thematic idea throughout the work, rather than developing different ideas movement by movement, in the way we find in the sonatas of Mozart, Beethoven or Brahms. The expansively lyrical violin melody of the first movement is built out of a sequence of thirds – this interval will feature prominently throughout the sonata. The driving second movement has the momentum and scale of the traditional sonata first movement. The final two movements contrast the rhapsodic freedom of a Recitativo – Fantasia, which replaces the traditional scherzo, with the discipline of a canonic finale, where the familiar theme is passed back and forth between the two instruments in a virtuoso way. Franck’s heady, deeply emotional writing and piquant harmonic turns have their origins in the musical language of Wagner, particularly the harmonies of Tristan. The music-making of Franck’s fellow countryman, the violinist Eugène Ysaÿe, provided an incentive for the piece which Franck wrote as a wedding present. Ysaÿe gave the première in December 1886 in an art gallery in Brussels. The program was long and, after the first movement, the late afternoon light began to dim. Artificial lighting was not allowed in the gallery. So, with a cry of Allons! Allons!, Ysaÿe and his pianist threw aside the music and performed the last three movements from memory. — Notes © 2010 Keith Horner. Comments welcomed: khnotes@sympatico.ca
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is generously sponsored by:
Hilary Hahn Sieglinde Wikstrom
Saturday, September 4 7:30 PM Skaneateles High School
Tonight’s concert is sponsored by:
Peter & Elsa Soderberg
Hilary and Friends
Tonight’s guest sponsorships:
Daniel Hege is sponsored by MediaMarCon David Ying is sponsored by Green & Seifter CPAs
With additional support from:
Sid & Suzanne Devorsetz and Bob & Sue Congel
Media Sponsor
Festival Finale C.P.E. Bach
Sinfonia No. 3 in C Major Allegro assai Adagio Allegretto
Schubert
Symphony No. 5 in B-flat Major, D.485 Allegro Andante con moto Menuetto: Allegro molto Allegro vivace
Intermission Mozart
Violin Concerto No. 5 in A Major, K. 219, “Turkish” Allegro aperto Adagio Rondeau: Tempo di menuetto
Hilary Hahn, violin
Skaneateles Festival Chamber Orchestra Daniel Hege, conductor Violin 1 Jeremy Mastrangelo Concertmaster Ainur Zabenova Andrew Bergevin Amy Christian Angel Ouyang Violin 2 Sara Mastrangelo Susan Spafford Chloe Fedor Janet Milnes
Viola Melissa Matson Wendy Richman Phillip Ying Cello David Ying Lindsay Groves Keiko Ying Bass Edward Castilano
Flute Joanna Bassett Oboe John Lathwell Kate Denny
Bassoon Gregory Quick Lisa Seischab Horn Alex Shuhan Mary Hunt Harpsichord Michael Unger
The Donald J. Grout Harpsichord, built by William Dowd, Boston 1988, is provided through the kind courtesy of St. Paul’s Episcopal Cathedral, Syracuse, NY
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The Skaneateles Festival is supported in part by an award from the National Endowment for the Arts.
Welcome Back Hilary!
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Program Notes Sinfonia No. 3 in C Major (1773) CARL PHILIPP EMANUEL BACH (1714-1788) From the 16th to the 19th century, there were seven generations of the Bach family. Many of them made fine careers as musicians: fiddlers, organists, town musicians, court musicians, and church musicians. During his lifetime, Carl Philipp Emanuel Bach was the best known of them all, better known even than his father, Johann Sebastian. For more than a quarter of a century, he worked at the Prussian court of the flute-playing Frederick the Great, before succeeding his godfather, Telemann, as Director of Music to five churches in Hamburg. Although church music now dominated his composition, in 1773 he received a commission for six string symphonies. It came from Baron Gottfried van Swieten, a musical antiquarian whose passions were soon to initiate important commissions from both Mozart and Haydn. Van Swieten gave Bach free creative rein “regardless of the difficulties which must necessarily result in performance.” He correctly anticipated that Bach would wish further to explore a penchant for dramatic contrasts, wide melodic leaps, plunging key changes and startling harmonies. The first two movements of the C major symphony, the third of the set, are connected, the urgency and surprising harmonic shifts of the first giving way to alternating anguish and comfort in the
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© KEITH HORNER, 2010
second. Then comes a more relaxed finale. Throughout, Bach “touches the heart” and “awakens the passions,” the two key ingredients of the North German Empfindsamkeit, a cult associated in all the arts with “heightened feeling” in reaction to the “rational thought” of the Enlightenment. This idiosyncratic, highly original symphony retains its power to startle, even today.
Symphony No. 5 in B-flat Major, D.485 (1816) FRANZ SCHUBERT (1797–1828) The Fifth is the shortest and sunniest of Schubert’s symphonies. He wrote it when he was 19, over a four- or five-week period during the early fall of 1816. Behind him lay an education at the Vienna Imperial and Royal Seminary which he had left when he was 16, his formal education complete. Orchestral music had been an important part of that brief education, with daily training in chamber music and the string orchestral repertoire. While studying, Schubert assisted the music director, leading the orchestra from the principal violin chair when required. Once he left the seminary, his friends were lovers of chamber music and musical amateurs rather than professionals. Many of them had been fellow students and a number of them played in a small amateur orchestra that met at the home of Otto Hatwig, a member of the orchestra
9/4 Program Notes (continued)
at the Burgtheater. Schubert played viola with them; his brother Ferdinand, violin. This group of around 30 music lovers gave the first performance of Schubert’s Fifth. This may explain its relatively modest scoring for one flute, two oboes, bassoon and horns, plus strings. The first professional performance had to wait until 1841, long after Schubert’s death. The Fifth is almost chamber-music in style and, in it, melody reigns supreme, as you might expect from a composer who had already written close to 200 songs, several short operas, and a number of string quartets. The music builds on the wit and spirit of Haydn and the grace and sonority of Mozart. At times, Schubert’s music can sound more “classical” than the masters he sought to emulate. But the music still recognizably belongs to Schubert, displaying a rich gift for melody together with a quirky and quite idiosyncratic side-step to the harmony. The first movement is a model of the perfectly balanced, expertly paced classical sonata design. Even the brief woodwind introduction we hear before the buoyantly bubbling first theme enters takes on an important role in the central development section. Nothing is “wasted” and nothing is extraneous. The slow movement is an eloquent set of variations on a rather Haydnesque theme. But Schubert’s predilection for distant harmonic keys gives a
poignant edge to the music. The sprightly minuet in the darker key of G minor, is close to a scherzo in spirit. Schubert skillfully builds its contrasting middle section by inverting the main theme. The vivacious finale, too, shows considerable skill in its concise use of contrapuntal techniques married to a carefully proportioned sonata form structure.
Violin Concerto No. 5 in A Major, K. 219 “Turkish” (1775) WOLFGANG AMADEUS MOZART (1756-1791) Throughout his childhood and adolescence, Mozart’s fame on the keyboard had eclipsed his accomplishments on violin, viola and organ. During the following decade, living in Vienna, he was to consolidate his position as the leading performer on the 18th century fortepiano – the first musician with any claim to the title. But Mozart’s credentials as a string player were strong. “You yourself do not know how well you play the violin,” Leopold Mozart wrote to his son in October 1777, and, as one of the leading authorities on violin technique of his day, Leopold’s statement carries some weight. One month later, Mozart played two violin concertos in Augsburg. “Everyone praised my beautiful, pure tone,” he wrote proudly to his father. He continued to play both violin and viola throughout his life. Mozart wrote his five authenticated violin concertos during his teens, when he led the court orchestra in Salzburg. He completed the last of them December 20, 1775, about five weeks before he turned 20. It calls for the modest orchestra of oboes, horns and strings that was more or less the norm in Salzburg. The orchestral opening is busy, energetic and bursting with ideas, all ripe for the attention of the soloist. The violin, however, has other ideas and introduces a peaceful six-bar adagio. The soloist then launches another solo melody altogether, set over the bustling orchestral opening – which can now be viewed as an accompaniment in search of a tune. It’s a witty and surprising start to a concerto and altogether representative of what’s in store. The middle movement is Mozart’s most ambitious slow movement to date. Its unhurried, expansive opening gives an idea of the broad canvas on which he is working. An elegant minuet opens the finale. But its even course is rudely interrupted by the “Turkish” episode which has given the concerto its nickname. “Turkish” here means Hungarian-gypsy music that has taken on something of the flavor of the East. So Mozart contrasts his well-groomed, stylish minuet with rough, exotic music from somewhere east of the ordered world of the Salzburg court. — Notes © 2010 Keith Horner. Comments welcomed: khnotes@sympatico.ca
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Musician Profiles Robert Allen Tenor Robert Allen has appeared on concert, opera, and recital stages across Central and Northern New York, New England, and as far south as Sarasota, Fla. He has performed roles for the Syracuse Opera, Oswego Opera, Ithaca Opera and the Empire Opera Theater. He is also a frequent soloist with the Syracuse Symphony Orchestra and is on the music faculty at Le Moyne College. Pascal Archer, clarinet Pascal Archer is clarinetist of the Sylvan Winds, principal clarinet of the Northeastern Pennsylvania Philharmonic, and acting principal clarinet of the Long Island Philharmonic. This fall he joins the clarinet faculty at New York University. He is on faculty at the Manhattan School of Music Precollege Division and a teaching artist for the Orchestra of St. Luke’s. Preceding his residency in New York, he was a full-time member of the New World Symphony for four years. He has appeared at such music festivals as Marlboro, Monadnock, Spoleto USA, Pacific, and Sun Valley Summer Symphony.
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Joanna Bassett, flute Joanna Bassett is a flutist and teacher, and a member of the Rochester Philharmonic Orchestra. She has been a member of the Hong Kong Philharmonic and an active chamber musician in the Rochester area. She is a graduate of Northwestern University and the Eastman School of Music, and has been on the faculties of Houghton College and the Chinese University of Hong Kong. In her newest endeavor, she is program coordinator of Hochstein at Canandaigua, an extension program of Rochester’s Hochstein School of Music & Dance. Andrew Bergevin, violin Andrew Bergevin graduated magna cum laude from Ithaca College in 2008 with a BM in violin performance in 2008. He is a member of the second violin section of the Syracuse Symphony Orchestra. He has participated in many summer festivals, including Meadowmount, Green Mountain Chamber Music Festival, and Brevard Music Center, where he was concertmaster of the Festival Orchestra. He previously served as assistant concertmaster of the Binghamton Philharmonic and as a section violinist with the Cayuga Chamber Orchestra. Michael Burritt, percussion Michael Burritt performs as a percussion soloist throughout the United States, Europe, Asia, Australia and Canada. He has been soloist with the Dallas Wind Symphony, Omaha Symphony, Chautauqua Festival Orchestra, Eastman Wind Ensemble, Ju Percussion Group (Taiwan), Percussion Art Quartet (Germany), and Amores Percussion Group (Spain). In 1992 he presented his New York solo debut in Weill Hall at Carnegie Hall and in 1998 performed his London debut in the Purcell Room at Queen Elizabeth Hall. He is professor of percussion the Eastman School of Music, where he earned his bachelor’s and master’s of music degrees, as well as his performer’s certificate. Linda Case, violin Linda Case has been concertmaster of the Cayuga Chamber Orchestra in Ithaca for 27 years. She performs frequently as a soloist and chamber musician in the orchestra’s chamber series. She has taught violin at Ithaca College, Cornell University, Eastman School of Music and the University of Tennessee and now maintains a small private studio in Ithaca. Linda is a Teacher Trainer for the Suzuki Association of the Americas and has taught workshops throughout the United States and Canada as well as conferences in New Zealand, Australia, Italy and France. Linda is also a certified Instructor and Consultant for Brain Gym International and offers workshops and private sessions in the healing arts.
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Musician Profiles Edward Castilano, double bass Edward Castilano holds the position of principal double bassist in the Syracuse Symphony Orchestra and has made numerous solo appearances with the SSO. Graduating in 1976 from the Eastman School of Music, he participated for six seasons in the Spoleto Festival in Italy, in Charleston, S.C., and has made several appearances with the Lincoln Center Chamber Players. He has also played with the Rochester, Philadelphia, Savannah, and Spokane symphonies and has performed in Skaneateles since 1981. Robert deMaine, cello As a chamber musician, Robert deMaine is a frequent guest artist at music festivals throughout the world, including Aspen, Chautauqua, Mainly Mozart (San Diego), Norfolk, Seattle, Steamboat Springs, and the Marlboro Music Festival in Vermont, also performing with Musicians from Marlboro. He has collaborated with the Beaux Arts Trio, Kronos Quartet, Cleveland, Juilliard, Emerson, and American String Quartets, and now performs regularly with violinist James Ehnes and pianist Andrew Armstrong. Since 2002, he has been the principal cellist of the Detroit Symphony Orchestra.
Phil Eisenman Phil Eisenman enjoys performing opera, musical theatre, oratorio and choral music. Recent performances have been with The Merry-Go-Round Playhouse, Society for New Music, Oswego Opera, Syracuse Vocal Ensemble and Rarely Done Productions. Phil is a board member of Syracuse’s Civic Morning Musicals Inc. (the third oldest musical organization in the country), program chair of Syracuse Pro Art, and co-director of an occasional Singer-Actor Workshop – a non-judgmental process-approach to expanding performance power. Jonathan English Tenor Jonathan English, a Syracuse native, has been a soloist with Boston’s Cantata Singers, Oswego Opera, Syracuse Opera, the Rochester Philharmonic, and the Pennsylvania Sinfonia. He gave the American premiere of Johann Rosenmüller’s cantata “In te domino” with lutanist Paul Odette, and the Boston premiere with organist James David Christie. He holds master’s degrees from the Eastman School of Music for vocal performance and choral conducting. He serves as music director for Northminster Presbyterian Church in North Syracuse and on the Board of Directors for the Ernst Bacon Society and Syracuse’s Civic Morning Musicals.
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Musician Profiles Ryan Enright, organ Ryan Enright has been active in music communities in Montreal, as well as the Rochester area, since coming here to study in 2007. He received Bachelor, Master and Artist Diploma degrees from McGill University. Ryan received first prizes at the RCCO National Organ Playing Competition, the Quebec Organ Competition, and the Canadian Music Competition. Ryan is a candidate for the Doctor of Musical Arts in Organ Performance and
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Literature at the Eastman School of Music, where he studies with William Porter and is organist of Gates Presbyterian Church. Elinor Freer, Co-Artistic Director and piano Elinor Freer has performed as soloist and chamber musician across the United States, Europe, Mexico, and China, including appearances in Amsterdam, Rotterdam, Bonn, Prague, Moscow, Beijing, and many other cities. Ms. Freer has been featured as soloist with numerous orchestras and at festivals including Summer Music in Harrisburg, PA, the Festival de Música de Cámera in Mexico, the Bowdoin Music Festival, the Lake Winnipesaukee Music Festival, and Music in the Vineyards in Napa Valley. A laureate and prizewinner in such competitions as the Joanna Hodges International Competition and the American Pianists Association, she has held piano fellowships at the Tanglewood Music Center and the Ravinia Festival’s Steans Institute. Committed to bringing classical music to new audiences, she has been awarded multiple grants from the National Endowment for the Arts for various school residencies and outreach performances. Ms. Freer serves on the faculty of the Eastman School of Music in Rochester, New York, and has recorded for Cedille Records. Michael Griffin, bass Michael Griffin has played assistant principal bass in the Rochester Philharmonic since 1997. He has also played in the Syracuse and Albany symphonies, Northeastern Pennsylvania Philharmonic, the Glimmerglass Opera, Cayuga Chamber, and St. Cecilia Chamber orchestras. He holds degrees from Indiana University in Bloomington. In addition to playing on recordings with the RPO, he has recorded a family tribute album of originals entitled “Voices From Beyond.” He also makes, restores, and repairs violin family instruments in his Luthier’s Care workshop in Fairport and teaches at Ithaca and Nazareth colleges. Lindsay Groves, cello Lindsay Groves is assistant principal cellist of the Syracuse Symphony and cellist of the Symphony Quartet. She has appeared as chamber musician, recitalist, and as soloist with the Syracuse Symphony, the Brighton Symphony, the Onondaga Civic Symphony, and the Kenai Peninsula Festival Orchestra in Alaska. She has also appeared in festivals in Florida, Maine, Colorado, California, Switzerland, and Italy, where she was a principal cellist of the Spoleto Festival. She also was a member of the Opera House Orchestra of the Kennedy Center for two seasons, and performed regularly with the Baltimore Symphony. In 1980, she conceived the idea of the Skaneateles Festival in a conversation with Beth
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Musician Profiles Boudreau, founded it in collaboration with Beth, David and Louise Robinson, and Claire Howard, and served as its music director for its first 11 years. Hilary Hahn, violin Violinist Hilary Hahn is a two-time Grammy Award winner and was recently named Gramophone magazine’s Artist of the Year. She appears regularly with the world’s elite orchestras and on the most prestigious recital series in Europe, Asia, and North and South America. In the 2009-10 season, she toured the United States, New Zealand, Japan, Germany, England, France, Austria, Luxembourg, Serbia, and Iceland, and performed as a guest soloist with, among others, the Boston, Detroit, Pittsburgh, Dallas and Nashville symphonies, the Royal Scottish National Orchestra, and the New Zealand Symphony Orchestra. In the dozen years since she began recording, she has released 11 solo albums on the Deutsche Grammophon and Sony labels, in addition to three DVDs, an Oscar-nominated movie soundtrack, an award-winning children’s record, Fun Fact… and various Hilary Hahn’s violin compilations. case has a popular twitter She made her account. Check it out at Festival debut at twitter.com/violincase. age 12 in 1992. Anne Harrow, flute Anne Harrow is the solo flutist of the Lake Placid Sinfonietta, the orchestra of the Adirondacks. She is an assistant professor of flute at the Eastman School of Music. Formerly the principal flutist of the Florida West Coast Symphony, she has also performed with the Rochester Philharmonic, the Buffalo Philharmonic, the Florida Wind Quintet, and the Spoleto Festival. Daniel Hege, conductor This fall, Daniel Hege begins his 11th season as music director of the Syracuse Symphony Orchestra and begins his tenure as music director of the Wichita (Kan.) Symphony. He previously held the titles of assistant, associate and resident conductor with the Baltimore Symphony. He has guest conducted the Houston, Detroit, Seattle, Indianapolis, Oregon, Colorado, San Diego, Columbus and Phoenix symphonies; the Rochester, Buffalo and Calgary philharmonics; and at the Grand Teton and Aspen Music Festivals. Frank Huang, violin Frank Huang was first-prize winner of the 2003 Walter W. Naumburg Foundation’s Violin Competition and the 62 2000 Hannover International Violin Competition. At age
11, he performed with the Houston Symphony Orchestra and has since performed with the Cleveland Orchestra, LA Philharmonic, Saint-Paul Chamber Orchestra, Indianapolis Symphony, Amadeus Chamber Orchestra and the Genoa Orchestra. He frequently participates in Musicians from Marlboro tours and was selected by the Chamber Music Society of Lincoln Center to be a member of the Chamber Music II program. This fall, he will join the Houston Symphony as its concertmaster and the violin faculty of the University of Houston. Barbara Hull, trumpet Barbara Hull received her Doctorate in Trumpet Performance and Literature from the Eastman School of Music. She plays regularly with the Gregory Kunde Chorale and the Greater Rochester Women’s Philharmonic, the Rochester Oratorio Society, as well as the Rochester Chamber Orchestra. She is a member of Twenty/21, a progressive ensemble which performs music from the 20th and 21st- centuries. She teaches Applied Trumpet, Brass Methods and Conducting at Nazareth College in Rochester, NY and coaches the Youth Symphony Brass at the Hochstein School of Music. Barbara has performed with the Rochester Philharmonic, Syracuse Symphony and the Harrisburg Symphony Orchestras. Mary Hunt, horn Mary Hunt teaches horn at the State University College at Geneseo and is a member of the Geneseo Wind Quintet, as well as the Antara Winds. She holds degrees from the Eastman School of Music and The Catholic University. Formerly on the faculty of West Virginia University, she has performed with such groups as the Utah Music Festival, Monadnock Music, the Naples Philharmonic, and the Orquesta Sinfonica de Mineria in Mexico City. Malcolm Ingram, narrator Malcolm Ingram teaches voice and acting at Syracuse University’s Department of Drama. He has directed productions of “Henry V” (an all female cast), “Charley’s Aunt,” “The Maid’s Tragedy,” “Our Country’s Good,” “Macbeth,”
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Musician Profiles “Twelfth Night,” “Sir Patient Fancy,” and “A Midsummer Night’s Dream.” His credits include many theater, film, and television roles in England. He designed and performs a program of Shakespeare’s works, has taught voice for the Shakespeare workshop for the National Theater Company, London, and appears regularly with Shakespeare and Company in Massachusetts. Alan Kay, clarinet Alan Kay was honored with membership in the Orpheus Chamber Orchestra in 2002 and serves as principal clarinet with New York’s Riverside Symphony. He often performs as principal clarinet with the American Symphony Orchestra, the Orchestra of St. Luke’s and at American Ballet Theater. He returned last summer for his fourth season at Bravo! Vail Valley Music Festival and his sixth season at the Yellow Barn Festival. His acclaimed performance of Weber’s Concerto at the 2005 Windham Chamber Festival was heard repeatedly through the U.S. on American Public Media’s “Performance Today.” Artistic director of the New York Chamber Ensemble, he has developed a series of thematic programs at the ensemble’s Cape May Music Festival.
Mark Kellogg, trombone Mark Kellogg has been a member of the Rochester Philharmonic Orchestra since 1989. He also holds the position of associate professor of trombone, euphonium and chamber music at the Eastman School of Music. He has performed with the Eastman Wind Ensemble, Brass Band of Battle Creek, U.S. Army Chamber Orchestra, Music of the Baroque in Chicago, San Francisco’s Chamber Music West, Fortissimo! Festival, Chamber Music Rochester, and Eastman Virtuosi. He was a founding member of the chamber brass groups Rhythm and Brass and Plus One. He has released a solo recording entitled “Upstate Standards.” John Lathwell, oboe John Lathwell is the principal oboist of the Binghamton Philharmonic, the Cayuga Chamber Orchestra, and the Tri-Cities Opera. He also performs regularly with the North Eastern Pennsylvania Philharmonic and is active as a chamber musician throughout Central New York. In New York City, he has performed with the Orchestra of St. Luke’s, the New York Chamber Symphony, the American Composers Orchestra, the Westchester Philharmonic, and the Brooklyn Philharmonic. He is a member of the music faculty at both Binghamton
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Musician Profiles University and the Tennessee Governor’s School for the Arts and has taught at Ithaca College. David LeDoux, cello David LeDoux was named Principal Cellist of the Syracuse Symphony Orchestra in 2006. He also served as Principal Cellist of the Baton Rouge Symphony from 2002-2006 and cellist in the Tulsa Philharmonic Orchestra. Mr. LeDoux studied cello with Ronald Leonard at the University of Southern California and Dennis Parker at Louisiana State University. As a soloist, he has performed with orchestras in Louisiana, Texas and Oklahoma. Mr. LeDoux has participated in the Quartet Program at Bucknell University and the Texas Festival-Institute at Round Top. Lionheart Jeffrey Johnson, Lawrence Lipnik, John Olund, Richard Porterfield, Kurt-Owen Richards, and Michael Ryan-Wenger Lionheart is one of America’s leading ensembles in vocal chamber music. Acclaimed for its “smoothly blended and impeccably balanced sound” (The New York Times), Lionheart is known for its interpretation of medieval and Renaissance a cappella music, with Gregorian chant as the keystone of its repertoire. In New York City, Lionheart performs regularly on the Music Before 1800 series at The Cloisters and in its own concert series at Saint Ignatius of Antioch Episcopal Church. The ensemble has also appeared at The Metropolitan Museum of Art, at Lincoln Center, and at Carnegie Hall’s Weill Recital Hall (in collaboration with composer Steve Reich). Other venues include the Kennedy Center, the National Cathedral and the Folger Library in Washington, D.C., the Boston Museum of Fine Arts, the Friends of Chamber Music series in Kansas City. In Europe it has participated in festivals including musikpodium in Stuttgart, Tage Alte Musik in Regensburg, and the Covent Garden Festival in London.
Fun Fact… Valentina Lisitsa jokingly calls herself a “redneck pianist” because, unlike many of her peers, she makes her home base not in a major city but in rural North Carolina. Valentina Lisitsa, piano Described by critics as a “bona fide angel playing” and an “electrifying pianist”, the Ukrainian-born Valentina Lisitsa has been receiving rave reviews ever since her debut in Avery Fisher Hall for the Mostly Mozart Festival. After her studies at the Lysenko School of Music and Kiev Conservatory, Valentina moved to US and became a citizen. Recent collaborations include tours with Sao Paolo Symphony, the New Zealand Philharmonic, Warsaw Philharmonic and Prague Chamber Orchestra. An avid chamber music player, Valentina has performed with Lynn Harrell, Jimmy Lin, Roberto Diaz, Ida Haendel to name a few. But her most important musical partnership has been with the superb violinist Hilary Hahn. They toured together in 2007 and again in 2009 with performances in Europe, North and South America, and Japan. Jeremy Mastrangelo, violin Since 2001, Jeremy Mastrangelo has served as Associate Concertmaster of the Syracuse Symphony Orchestra. During his tenure he has been a featured soloist with the orchestra on numerous occasions. Jeremy was also an affiliate artist faculty member of Syracuse University from 2004-2009. In addition, he has been a substitute violinist with the Pittsburgh Symphony Orchestra, served as concertmaster and soloist for the Bach and Beyond Festival in Fredonia, NY, and as concertmaster and soloist for the Breckenridge Music Festival. In this capacity he is featured on a CD of Piazzolla’s “Four Seasons”. He holds degrees from the Cleveland Institute of Music and the University of Michigan.
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Musician Profiles Sara Mastrangelo, violin Sara Mastrangelo has been a member of the Syracuse Symphony Orchestra since 2001 and began her violin studies at age 3 in Winnipeg, Manitoba. She holds degrees in music from McGill University, the University of Michigan, and Carnegie-Mellon University. She is an active chamber musician, performing regularly in Upstate New York and in Colorado as principal second violinist of the Breckenridge Music Festival Chamber Orchestra. She enjoys collaborating with her husband, violinist Jeremy Mastrangelo, whenever she can. Melissa Matson, viola Melissa Matson, principal violist of the Rochester Philharmonic Orchestra, is artistic director of First Muse Chamber Music, a series of concerts at First Unitarian Church of Rochester. She performs frequently with Chamber Music Rochester, and teaches viola orchestral repertoire at the Eastman School of Music, and is working on a Beethoven quartet cycle with her colleagues in the
Amenda Quartet. Originally from northern California, she received her degrees from Eastman and was awarded the coveted performer’s certificate. Before joining the RPO, she performed throughout the U.S. as a founding member of the Chester String Quartet. In her free time, she enjoys creating artisan-dyed fabrics and garments. Janet Milnes, violin Janet Milnes is string chamber music coordinator at the Eastman Community Music School. She is a graduate of the Manhattan School of Music and has served on the faculty at Duke University String School, Hochstein School of Music & Dance, and the Eastman Community Music School since 1987. She has performed with the Rochester Philharmonic Orchestra, Rochester Chamber Orchestra, and Greensboro, Savannah, and North Carolina symphonies, the Ciompi Quartet of Duke University, and Mallarme Chamber Players. She is an active adjudicator, chamber musician, and recitalist.
The composer, performers & poets of at last year’s “Summer Songs” premiere
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Musician Profiles Robert Moody, conductor Robert Moody holds three permanent conducting positions: music director for the Winston-Salem Symphony in North Carolina since 2005, music director for the Portland Symphony in Maine since 2008, and artistic director for Arizona MusicFest in Phoenix/Scottsdale since 2007. He is also a frequent guest conductor with orchestras across the United States, including the symphonies of Seattle, Memphis, Tucson, Detroit, Houston, Indianapolis, Fort Worth, Anchorage, and Annapolis. In summer 2007, he served as conductor-in-residence for the Eastern Music Festival in Greensboro, N.C. He received a bachelor’s degree in church music, with performing emphasis in both voice and cello, from Furman University in his hometown of Greenville, S.C., and completed his master’s degree in conducting at the Eastman School of Music. Paul Moravec, composer Paul Moravec won the 2004 Pulitzer Prize in Music for “Tempest Fantasy,” one of his more than 100 orchestral, chamber, choral, lyric, film, and electro-acoustic compositions. His first opera, “The Letter,” commissioned by the Santa Fe Opera, with libretto by Terry Teachout, premiered in
2009. Other recent premiers include his evening-length oratorio, “The Blizzard Voices,” about the Great Plains blizzard of 1888, with text by Ted Kooser, premiered by Opera Omaha; and his “Brandenburg Gate,” premiered by the Orpheus Chamber Orchestra at Carnegie Hall. Among his awards are the Rome Prize Fellowship from the American Academy in Rome, a Fellowship in Music Composition from the National Endowment for the Arts, a Rockefeller Foundation Fellowship, a Camargo Foundation Residency Fellowship, two fellowships from the American Academy of Arts & Letters and many commissions. He is University Professor at Adelphi University. Born in Buffalo, he received his B.A. in composition from Harvard and a master’s and doctorate from Columbia. Spencer Myer, piano Gold Medalist of the 2008 New Orleans International Piano Competition, Spencer Myer’s orchestral, recital and chamber music performances have been heard throughout North America, Canada , Europe, Africa and Asia. An avid chamber musician, he has also performed with the Blair, Jupiter, Miami and Pacifica String Quartets and recent performances include the Bard Music Festival and the Colorado Music Festival. An enthusiastic
Music patron Maria Sanches died in 1984. On Friday night, she’ll present a program of Bach, Brahms and Beethoven. A lifelong music lover, Maria never missed a classical concert. The works of the old masters made her heart soar. Other hearts will soar because Maria included a bequest to the symphony in her will. Thanks to Maria, her beloved orchestra won’t miss a beat. Include your favorite cause in your will or estate plan. Contact a charitable organization, attorney, financial advisor or local LEAVE A LEGACY® program to learn how.
Skaneateles Festival
315-685-7418 • www.skanfest.org
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Musician Profiles supporter of the education of young musicians, he is a frequent guest artist at workshops for students and teachers. Spencer is also an advocate of contemporary music and inter-arts collaboration, and has worked with the Chicagoand New York-based ICE (International Contemporary Ensemble), Indianapolis’ Dance Kaleidoscope, Ohio Dance Theatre and New York City’s New Triad for Collaborative Arts and The Juilliard School’s “Composers and Choreographers” series. Shannon Nance, violin Shannon Nance is the recently appointed assistant concertmaster of the Rochester Philharmonic Orchestra, where she has been a member of the violin section since 1993. She holds two degrees from the Eastman School of Music. An active chamber musician in the Rochester area, she appears regularly with the Finger Lakes Chamber Ensemble and at the Canandaigua Lake Music Festival. She plays a 1798 Joseph and Antonius Gagliano violin. She is also a dedicated violin teacher of students of varying ages. Wesley Nance, trumpet Wesley Nance, second trumpet with the Rochester Philharmonic Orchestra, has been a featured soloist with the orchestra on several occasions. The RPO brass section premiered his piece “Two Beats!” in 2003. He holds bachelor’s and master’s degrees from the Eastman School of Music in trumpet performance and has been on the faculty of the Eastman Community Music School since 1990. NYS Baroque Debra Nagy, oboe and recorder; Julie Andrijeski, concertmaster; Boel Gidholm, violin; Daniel Elyar, viola; David Morris, cello and viol; Heather Miller Lardin, violone; David Yearsley, harpsichord NYS Baroque performs music of the Renaissance, Baroque and early Classical periods on period instruments. It is America’s only large period-instrument ensemble based outside a metropolitan area. NYS Baroque was founded
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in 1988 and was awarded Early Music America’s “Early Music Brings History Alive” award in 2006. Recent guest appearances include performances at the Indiana Early Music Festival, the Boston Early Music Festival, Handel’s “Messiah” with the choirs of St. Paul’s Cathedral in Buffalo, and a reconstruction of Jean-Jacques Mouret’s 1734 ballet “Pygmalion” with the New York Baroque Dance Company at Cornell University. Angel OuYang, violin Angel OuYang holds a bachelor’s degree from Soochow University in Taipei and a master’s degree in violin performance and literature from the Eastman School of Music. She has been a member of the RPO since 1997 and is the second violinist in the RPO’s Educational String Quintet. As a chamber musician, she has performed on “Live From Hochstein” with the Hochstein String Quartet and recently went on a duet concert tour in Taiwan. She is a faculty member of the Hochstein School of Music and teaches privately at home. Gregory Quick, bassoon An honors graduate from the University of Michigan, Gregory Quick joined the Syracuse Symphony Orchestra as its principal bassoonist in 1977. A frequent performer with the Skaneateles Festival, he has also performed with the Summer Music Festival of Arkansas, Rochester Philharmonic, Orchestra Symphonique de Montreal, and the Toledo Zoo Band. He is a former personnel manager for the SSO and served on the Skaneateles Festival Board of Directors for several years. John Raschella, trumpet John Raschella is associate principal trumpet with the Syracuse Symphony Orchestra and an adjunct professor of music at Hamilton College. He is a graduate of the Curtis Institute of Music and has performed with the orchestras of Philadelphia, Pittsburgh, and Houston. He has also given master classes at Ithaca College, the Curtis Institute, and the International Trumpet Guild Conference. He was principal trumpet at the Spoleto Festival in Italy and the Eastern Music Festival in North Carolina.
Check it out!
Artist CDs available at the concession table. 67
Musician Profiles Interlochen Summer Arts Camp in Michigan. He has studied at Southern Methodist University, the Eastman School of Music, and the Pre-College Division of the Juilliard School. An accomplished composer and arranger, he has written a number of works for Rhythm & Brass. His composition “Awakenings” is featured on the most recent Rhythm & Brass recording, “Inside the Blue Suitcase.”
A prize-winning picnic at Brook Farm. Wendy Richman, viola Violist Wendy Richman has performed across the U.S. and Europe. Notable appearances include the international festivals of Edinburgh, Hong Kong, and Helsinki; the American Academy in Rome; the Phillips Collection; Miller Theatre; Jordan Hall; and the American Repertory Theatre. A graduate of Oberlin Conservatory and New England Conservatory, she is based in Ithaca, where she performs and teaches privately at Cornell University. After serving as assistant principal viola of the Portland Symphony Orchestra for four years, she was appointed to the viola section of the Syracuse Symphony Orchestra. Lisa Ann Seischab, bassoon Lisa Ann Seischab is executive director of advancement at the Eastman School of Music. Formerly a member of the Charlotte Symphony Orchestra, she has performed with the Buffalo Philharmonic, Syracuse Symphony and North Carolina Symphony orchestras. She held administrative positions at Carnegie Hall and the Eastman School of Music before beginning her development career with the Rochester Philharmonic Orchestra. Specializing in major gift fundraising, she has worked for the Baltimore Symphony Orchestra, University of Maryland and Johns Hopkins Medicine. She is a graduate of Eastman. Alex Shuhan, horn Alex Shuhan, associate professor of horn at Ithaca College, is a founding member of Rhythm & Brass. He is principal horn with the Cayuga Chamber Orchestra, performs frequently with the Rochester Philharmonic 68 and Syracuse Symphony orchestras and teaches at the
Elizabeth Shuhan, flute Elizabeth Shuhan is on the faculty of the Hochstein School of Music in Canandaigua, is a private flute instructor at Cornell University and has lectured in chamber music, music education and music theory at Ithaca College. She is the principal flutist with the Fort Smith (Ark.) Symphony and has recorded for the Naxos label. She was previously the director of the University of Arkansas Suzuki Music School, an elementary music specialist in the Arkansas public schools and a member of the North Arkansas Symphony Orchestra and Meridian (Miss.) Symphony Orchestra. She holds degrees from the University of Arkansas and the University of Southern Mississippi and has received advanced Suzuki flute teacher and performance training from Toshio Takahashi, the founder of the Suzuki flute method. Sylvan Winds Svjetlana Kabalin, flute; Kathy Halvorson, oboe; Pascal Archer, clarinet; Erik Holtje, bassoon; Nancy Billman, horn Hailed by the New York Times for “…its venturesome programming and stylishness of performance,” the Sylvan Winds has appeared under the auspices of Carnegie Hall, Lincoln Center’s Mostly Mozart Festival and the Caramoor Music Festival. The ensemble has presented imaginative programs of chamber works for winds in such places as Town Hall, Merkin Concert Hall, the Cape Cod and White Mountains Festivals, Rutgers University’s Summerfest, Amherst College, the Chicago Chamber Music Society and the Sejong Cultural Center in Seoul, Korea and have recorded for the Koch Classics and CRI/New World labels. The Sylvan Winds celebrated their 30th Anniversary during the 2008-09 season. Tf3 (Time for Three) Zachary De Pue, violin; Nicolas Kendall, violin; Ranaan Meyer, double bass Time for Three transcends traditional classification, with elements of classical, country western, gypsy and jazz idioms forming a blend all its own. What started as a trio of student musicians at Philadelphia’s Curtis Institute for Music evolved into Time for Three, or Tf3 for short. It gained instant attention in July 2003, during a lightning-
Musician Profiles induced power failure at Philadelphia’s Mann Center for the Performing Arts. While technicians attempted to restore onstage lighting, Ranaan and Zach, who were both performing as members of The Philadelphia Orchestra, obliged with an impromptu jam session that included works as far afield from the originally scheduled symphony as “Jerusalem’s Ridge,” “Ragtime Annie,” and “The Orange Blossom Special.” The crowd went wild. Its recent engagements are as diverse as its music: from featured guest soloists with The Philadelphia Orchestra to opening for k.d. lang at Philadelphia’s Kimmel Center.
Fun Fact… Tf3 recorded the soundtrack to the History Channel’s recent production The Spanish-American War.
Nicolas Kendall, violin Nick Kendall debuted with the National Symphony Orchestra and the Saint Louis Symphony Orchestra as the winner of their Young Artists competitions. He has performed in the concert halls of Anchorage, Chapel Hill, Chicago, Cleveland, Indianapolis, Louisville, San Francisco and Tokyo. In addition to his extensive recording and performance activities as a member of Tf3, Nick is a member of the East Coast Chamber Orchestra (ECCO) and the Dryden String Quartet. Ranaan Meyer, double bass Ranaan Meyer attended the Manhattan School of Music and graduated from the Curtis Institute in 2003. Beyond regular appearances with ensembles such as the Minnesota Orchestra, Baltimore Symphony and The Philadelphia Orchestra, he is in demand as a composer, creating new works for Tf3 as well as for other ensembles and for solo bass. An accomplished jazz musician, he is the founder of Project Interactive (PI), which connects communities’ artistic possibilities. In summer 2008, he launched Wabass: Institute for the 21st Century Bass Player along with Eric Larson (Houston Symphony) and Hal Robinson (Philadelphia Orchestra). In summer 2009, he founded Classical Jam Band Camp in Bayview, Mich. Zachary De Pue, violin Zach De Pue graduated in 2002 from the Curtis Institute of Music, attending the Cleveland Institute of Music. He made his solo debut with the Toledo Symphony Orchestra in 1994 and performed as soloist with the World Youth Symphony Orchestra in 1995. He has performed at the Isaac Stern Music Workshop; the Angel Fire, La Jolla and
Sarasota music festivals; and at the Chautauqua Institution and Interlochen Arts Academy. In 2007, he was appointed concertmaster of the Indianapolis Symphony Orchestra. Trio Solisti Maria Bachmann, violin; Alexis Pia Gerlach, cello; Jon Klibonoff, piano Crowned “the most exciting piano trio in America” by The New Yorker magazine, Trio Solisti has earned a reputation for soulful and passionate performances. It performs a broad spectrum of styles, and its versatility extends to new music, most notably to the work of Paul Moravec who composed his 2004 Pulitzer Prize-winning work, “Tempest Fantasy,” for the trio. Highlights of 2009-10 included performances at The Kennedy Center, the Houston Friends of Music Series, and an all-Brahms concert at The Caramoor Center for the Performing Arts. Chamber Music Monterrey Bay has commissioned a work for Trio Solisti by composer Kevin Puts, who was in residence at Skaneateles in 2007. The trio premieres his work in 2012. Violinist Maria Bachmann and pianist Jon Klibonoff performed the world premiere of Philip Glass’ Sonata for violin and piano in 2009. Cellist Alexis Gerlach performed the world premiere of Puts’ work for solo cello and string quintet in 2009. Michael Unger, harpsichord Michael Unger is pursuing a doctorate degree in organ performance and a master’s in harpsichord performance at the Eastman School of Music. He has performed recitals in Canada, the United States, and Europe and worked as an accompanist and chamber musician. He was the only North American semifinalist in the 2004 International Organ Competition in Odense, Denmark, and was recently a semifinalist in the 2006 American Guild of Organists’ National Young Artist’s Competition in Organ Performance. He is music director of South Presbyterian Church in Rochester and teaches secondary organ and harpsichord at Eastman. Karen Veverka, violin Karen Veverka directs the Skaneateles High School Orchestra, where she has led her ensemble to “Gold with Distinction” ratings. After winning first place in Heritage Festival’s 2009 inaugural festival, the orchestra performed in Segerstrom Concert Hall in Costa Mesa, Calif., this year at the invitation of Heritage Festivals. She holds degrees from St. Olaf College, the University of Nebraska, and Syracuse University. As a Ph.D. candidate in music education, she taught at SU from 2005-08. She has performed with the Syracuse and Omaha symphonies, the Joffrey Ballet, at the Aspen Music Festival and with the Society for New
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Musician Profiles Music and is a member of the Board of Directors of the Skaneateles Festival. Joshua Weilerstein, conductor Immediately after completing his bachelor of music in violin performance at the New England Conservatory in May 2009, 21-year-old Joshua Weilerstein was named the winner of the international Malko Competition for Young Conductors in Copenhagen. Last summer, he participated in the American Academy of Conducting at the Aspen Music Festival, where he studied with David Zinman and was awarded the Robert J. Harth Conductor Prize. In September 2009 he resumed his studies at New England Conservatory, pursuing dual master of music degrees in orchestral conducting and violin. He serves as concertmaster of Discovery Ensemble, a Boston-based chamber orchestra established by young musicians dedicated to bringing music to children through interactive workshops in schools and community concerts. His sister, cellist Alisa Weilerstein, appeared with the Festival in 2006. Michi Wiancko, violin Violinist Michi Wiancko has performed with the New York Philharmonic and Los Angeles Philharmonic and in recital and chamber appearances across the nation. She made her New York solo recital debut at Carnegie Hall’s Weill Recital Hall after winning the 2002 Concert Artists Guild International Competition. She has toured extensively as soloist, recitalist and chamber musician and has appeared at the Kennedy Center, Sydney Opera House, Metropolitan Museum of Art, National Gallery, Library of Congress, New York Town Hall, and Philadelphia Chamber Music Society. A native of Southern California, she began her violin studies at the age of 3, studied at the Cleveland Institute of Music, and completed her master’s degree at The Juilliard School.
Please consider the Skaneteles Festival in your Planned Giving. Our thanks to Penny Eger and M.J. Osborne for their bequest. 70
The Ying Quartet Frank Huang, violin; Janet Ying, violin; Phillip Ying, viola; David Ying, cello Now in its second decade, the Grammy-Award winning Ying Quartet has established itself as one of the most outstanding chamber ensembles. Its performances regularly take place in the world’s most important concert halls, from Carnegie Hall to the Sydney Opera House. At the same time, the Quartet’s belief that concert music can also be a meaningful part of everyday life has also drawn the foursome to perform in settings as diverse as the workplace, schools, juvenile prisons, and the White House. As quartet-in-residence at the Eastman School of Music, the Ying Quartet teaches in the string department and leads a rigorous, sequentially designed chamber music program. One cornerstone of chamber music activity at Eastman is the noted Music for All program, in which all students have the opportunity to perform in community settings beyond the concert hall.
Musician Profiles David Ying, Co-Artistic Director and cello In addition to his more familiar role as cellist of the Ying Quartet, David Ying also performs solo concerts and serves as Co-Artistic Director of the Skaneateles Festival. He has appeared as soloist with orchestras such as the Oakland East-Bay Symphony, the Chicago Civic Orchestra, the String Orchestra of the Rockies, and the Rochester Chamber Orchestra. His awards as a solo cellist include prizes in the Naumburg International Cello Competition and in the Washington International Competition. A dedicated and active teacher, he has taught at Interlochen, the Brevard Music Center, Harvard University, and Northwestern University and is presently on the chamber music and cello faculty of the Eastman School of Music in Rochester. Keiko Ying, cello Keiko Ying began studying the cello in Boise, Idaho, at age 10. At 14, she joined the Boise Philharmonic. She studied for two years at Albertson College of Idaho and then transfer red to the Eastman School of Music, where she received her bachelor’s, master’s, and doctoral degrees. She has spent four summers as an Orchestral Fellow at the
Aspen Music Festival, where she served as assistant principal in the festival and chamber orchestras, and was principal cello for the Spoleto Festival Orchestra in 2005. She has served as principal cellist in CityMusic in Cleveland for three years, as a section member in Syracuse Symphony Orchestra and teaches cello at the Eastman Community Music School. Phillip Ying, viola Phillip Ying, as violist of the Ying Quartet, performs regularly across the United States, Europe, and Asia. Recent appearances include engagements in New York, Chicago, Los Angeles, Philadelphia, San Francisco, Houston, Washington, D.C., Australia, France, Mexico, and Taiwan. He has performed at the Marlboro, Tanglewood, Caramoor, Norfolk, Aspen, Colorado, Bowdoin, and Steamboat Springs music festivals. A recipient of the Naumburg Award for chamber music, Phillip chairs the Chamber Music Department at the Eastman School of Music, where he is also assistant professor of viola and associate professor of chamber music. He has served as president of Chamber Music America.
The Hill Medical Center 1000 East Genesee Street, Suite 501 Syracuse, New York 13210 (315) 475-6641
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A Christmas Suite
Concert Information All concerts are held in Skaneateles, August 11 – September 4, 2010. Tickets can be ordered at www.skanfest.org or by calling (315) 685-7418. Saturday concerts at Brook Farm are held at 7:30 pm outdoors. Patrons may arrive as early as 6:00 pm and picnic on the lawn. Call (315) 685-7418 after 3:00 pm on Saturdays for rain location announcements. (Note: 9/4 concert is at the high school.) Rain Location: Skaneateles High School auditorium, 49 East Elizabeth Street Suggested items to bring: Lawn chairs, blankets & flashlights are suggested (chairs are provided in A seating only). Ticket exchanges may be made up to 24 hours prior to concerts. Unused tickets returned less than 24 hours before the performance will be acknowledged as a contribution to the Skaneateles Festival. Any unused ticket may be exchanged for a ½ price ticket to a Syracuse Friends of Chamber Music concert during their 2010-2011 Season (subject to availability). Doors open for all concerts 30 minutes prior to concerts. Cameras & recording equipment may only be used with the permission of the Skaneateles Festival. Please remember to silence cell phones. Please tell businesses listed in the program that you appreciate their support of the Skaneateles Festival. Skaneateles Festival 97 East Genesee Street Skaneateles, NY 13162 (315) 685-7418 • www.skanfest.org 72
Save the Date
Saturday, December 11, 2010 A collection of Christmas Stories and Music Reservations will be taken starting November 1st Hosted by
The Falcone Family
Presented by the
Skaneateles Festival
A Christmas Suite Contributors – 2009
Laura Allyn Aurora Inn John and Kathy Baran Henry and Helga Beck Jim and Karin Blute Bill and Marcia Burrows Rick and Anne Capozza Joan Christy and Tom Bersani Barb Connor Alan Curle and Andrew Condon Bill and Donna Davis Evan and Elizabeth Dreyfuss The Falcone Family Dr. Michael W. Fallon
George Iocolano Dan and Grace Labeille Ed and Jill Little Dan McCann – Five Seasons Florist John and Kim Mezzalingua Bob and Sally Neumann Pascale’s Liquor Square Realty USA, Linda Roche Division Buzz and Mary Ann Shaw Sherwood Inn Skaneateles High School Doug Sutherland and Nancy Kramer Wells Fargo, the Coates Group Jeff and Kate Youle