A MESSAGE FROM ANNA . . .
Today’s concert celebrates 275 years of the great city of Alexandria! Steeped in its rich history, the Washington Metropolitan Philharmonic is delighted to present an allAmerican program of favorites to commemorate this vibrant community
Jennifer Higdon’s blue cathedral has become a pivotal work in the modern-day orchestral repertoire known for its spiritual expression, cathartic listening experience and symbolism for life’s complicated journey. Samuel Barber’s Symphony in One Movement is a dramatic, yet lyrical work where the traditional four-movement symphonic scheme is compressed into one movement with drastic character changes throughout each section By contrast, John Alden Carpenter’s Krazy Kat is a one-act ballet that was one of the earliest American works to incorporate jazz and Latin/Spanish-flavored popular music into a symphonic genre, and inspired by the famous 1920's comic strip, Krazy Kat Also influenced by jazz idioms, our final piece on the program delivers verve and panache – George Gershwin’s timeless, iconic, American masterpiece, Rhapsody in Blue. This year marks the 100th anniversary of Gershwin’s epic concerto and continues to present forthright thematic material from an oscillating bluesy tune, a brazen march-like melody, and finally, a grandly romantic, jubilant theme that dazzles audience members of all ages
As always, it is our honor, pleasure and joy to serve our community through music! Now, sit back, relax, and enjoy the performance
SAVE THE DATE! 2023/2024 SEASON FINALE CONCERT
Music of the Americas
Friday, May 10, 2024 @ 7:30 pm
Visit wmpamusic.org for more info & tickets (scan code):
PROGRAM
Jennifer Higdon
blue cathedral
Samuel Barber
Symphony No. 1 in One Movement, Op. 9
John Alden Carpenter
Krazy Kat
George Gershwin
Rhapsody In Blue Thomas Pandolfi, piano
PROGRAM NOTES
bluecathedral
–JenniferHigdon
Intermission
Born December 31, 1962, Brooklyn New York
This work was premiered in March 1, 2000, by the Curtis Institute of Music Symphony Orchestra, conducted by Robert Spano. It is scored for piccolo, two flutes, oboe, English horn, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, harp, piano, celesta, timpani, percussion, and strings However, numerous percussion instruments are played by many non-percussionist members of the orchestra
Jennifer Higdon represents two diverse streams of music seldom heard in the concert hall First, she is a woman and, even in today’s society of inclusion, few women composers are represented on orchestra programs Her other distinction is that her music is newly composed and, therefore, not yet among the ‘Top Forty’ pieces that make up the traditional canon from which most orchestra programs are drawn Of course, these standard works are all from the usual roster of dead, white, European, or Europeantrained, male composers
PROGRAM NOTES (cont'd)
Greatness is often achieved by young composers, but finding an original musical voice and garnering recognition usually takes years. Because of her undeniable talent and vision, Higdon has been the recipient of great adulation in the musical world She was nominated for three Grammy® Awards in 2005 resulting from her fruitful collaboration with the Atlanta Symphony Orchestra and conductor Robert Spano By her early forties, Higdon’s works have been performed by ensembles throughout the world. blue cathedral (Higdon’s lower-case) resulted from a 1999 commission from the Curtis School of Music in Philadelphia to commemorate their seventy-fifth anniversary. However, the work’s emotional roots are deeper and much more personal Higdon described its meaning in conjunction with its premiere in March 2000:
"
“Blue...like the sky. Where all possibilities soar. In a school where talent and ability are not a question, the sky is the limit Cathedrals a place of thought, growth, spiritual expression...serving as a symbolic doorway into and out of this world. Cathedrals represent a place of beginnings, endings, solitude, fellowship, contemplation, knowledge and growth. In so many ways, Curtis fits this description perfectly; it is a house of knowledge – a place to reach towards that beautiful expression of the soul which comes through music. Coming to the writing of this piece at a unique juncture in my life, I found myself pondering the question of what makes a life The recent loss of my younger brother, Andrew Blue, made me reflect on the amazing journeys that we all make, especially at Curtis, where the pursuit of "the singing soul" is what music and life are all about. This piece represents the expression of the individual and the whole of the group our journeys and the places our souls carry us ”
She describes her vision of the work, “When I began blue cathedral, it was the one-year anniversary of my (younger) brother’s death, so I was pondering a lot of things about the journey we make after death…I was imagining a traveler on a journey through a glass cathedral in the sky (therefore making it a blue color) I wanted the music to sound like it was progressing into this constantly opening space, feeling more and more celebratory… As the journey progresses, the individual would float higher and higher above the floor, soaring towards an expanding ceiling where the heart would feel free and joyful.
Symphony No. 1 in One Movement, Op. 9
– Samuel Barber
Born March 9, 1910, in West Chester, Pennsylvania
Died January 23, 1981, in New York, New York
This work was premiered on December 13, 1936, by the Augusteo Orchestra in Rome, Italy, conducted by Bernardino Molinari It is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, and strings.
opens with the usual exposition of a main theme, a more lyrical second theme, and a closing theme After a brief development of the three themes, instead of the customary recapitulation, the first theme, in diminution forms the basis of a scherzo section (Vivace) The second theme (oboe over muted strings) then appears in augmentation, in an extended Andante tranquillo. An intense crescendo introduces the finale, which is a short passacaglia based on the first theme (introduced by the violoncelli and contrabassi), over which, together with figures from other themes, the closing theme is woven, thus serving as a recapitulation for the entire symphony.”
KrazyKat:JazzPantomime
–JohnAldenCarpenter
BornFebruary28,1876,inParkRidge,Illinois
DiedApril26,1951,inChicago,Illinois
ThisworkwaspremieredonDecember23,1921, thepremiereoftheballetwasgivenatTownHal
NewYorkonJanuary20,1922,conductedbyGeo Barrere.Itisscoredforpiccolo,twoflutes,twoobo Englishhorn,twoclarinets,twobassoons,fourhor twotrumpets,twotrombones,basstrombone,tu timpani,percussion,piano,harp,andstrings
A student of the illustrious American composer John Knowles Paine and the British master Sir Edward Elgar, John Alden Carpenter was destined to make quite a splash in the musical world By inheritance, he was an executive in the family candle-making business but allowed his brothers to run the company Carpenter spent most of his time composing Until his fortieth year, he was known as a composer of miniatures – mostly songs and piano pieces. Then in 1915, everything changed when his first orchestral work, Adventures in a Perambulator, received its premiere to a hail of critical accolades Carpenter would go on to compose several important works, perhaps most notably the ballets Krazy Kay(based on the comic strip) and Skyscrapers (written for Serge Diaghilev’s Ballets Russes) In many of his pieces, popular music is palpable as a very definite influence
Krazy Kat is based on George Herrimann’s comic strip of the same name. It incorporates jazz elements half a decade before Rhapsody in Blue In the strip Krazy is enamored with Ignaz the mouse who throws bricks at Krazy to escape. Officer Bull Pupp tries to prevent the brick attacks and stop Ignatz The strip is a combination of slapstick comedy and surreal imagery long before the genre of art was created. Carpenter used the strip as a point of departure from traditional ballet and high art, although many intellectuals saw Krazy Kat as more artistic than other strips of the day
In Carpenter’s ballet, Krazy is taking a nap when an announcement is nailed to a nearby wall announcing a Grand Ball. He awakes and inds a ballet skirt on a nearby clothesline and begins to dance Old Joe Stork, a character always dropping bundles, provides makeup and somwhite gloves. Ignatz enters and tries to throw a brick, but Office Pupp stops him Krazy starts a Spanish dance and a disguised Ignatz presents him with a bowl of catnip, which only makes Krazy’s dance more refined Of course, Ignatz takes
PROGRAM NOTES (cont'd)
The 1930s were a period of transition for Samuel Barber. He spent the school year as a student at the Curtis Institute of Music in Philadelphia and summers in Cadegliano, Italy, with his partner and fellow composer, Gian Carlo Menotti. Summers there allowed Barber to escape the tensions of his studies and a city that he felt was musically confining He spent a large portion of his time swimming, bicycling, shopping, and composing, which came much more readily to him when combined with leisure activities
With his career well underway, especially after Artur Rodzinski’s performance of the Symphony No 1 at the 1937 Salzburg Festival, Barber tried to cement his reputation by finding notable conductors to introduce his newest works Arturo Toscanini, the esteemed maestro who had premiered Puccini’s final operas, was in Salzburg during the Festival. Barber sent Toscanini the scores of his most recent pieces, the first Essay for Orchestra (he would compose a second such work in 1942 and a third in 1978) and Adagio for Strings (Barber’s own arrangement of the slow movement from his String Quartet), knowing that a premiere under the baton of the legendary conductor would bode well for his career Within six months, Toscanini sent the scores back with no explanation. Assuming that the maestro was not interested in the pieces, Barber begrudgingly began a search for another conductor On vacation with Menotti in 1938, the two discussed visiting Toscanini at his island home in Lake Maggiore, but Barber could not bring himself to visit the man who had refused his music Little did he realize that Toscanini had memorized both scores and would premiere them on the same program before the year ended. The soon-to-be close association with Toscanini brought Barber recognition as one of the leading young composers of his generation
Although commissions poured in after his association with Toscanini was cemented, Barber’s most popular music would always remain the early works that led to that relationship
Barber’s Symphony No 1 in One Movement, Op 9 was a landmark piece for the young composer. At age twenty-five, he won the American Prix du Rome and spent the next year in the Italian city and various resorts in the Alps The result of this sojourn was the Symphony, dedicated to Menotti The musical language in most of Barber’s works is harmonically conservative, but it peppered with occasional dissonance. His melodies often soar with long cantilena lines (his vocal music is magnificent in this regard) and he always wrote for traditional groups of instruments. It is rare to find a Barber work that does not fit into one of the traditional molds – overture, symphony, concerto, etc However, he could be surprisingly bold and innovative, toying with traditional forms and harmonies and transforming them into new modes of expression. For instance, the First Symphony is structured in one movement
Barber wrote: “The form of my Symphony in One Movement is a synthetic treatment of the four- movement classical symphony It is based on three themes of the initial Allegro non troppo, which retain throughout the work their fundamental character. The Allegro
the opportunity to throw a brick, which dazes Krazy who returns to the tree and falls asleep again
RhapsodyinBlue
–GeorgeGershwin
Born(JacobGershovitz)onSeptember26,1898,in Brooklyn,NewYork
DiedonJuly11,1937,inHollywood,California
ThisworkreceiveditspremiereonFebruary12,1924,by thePalaisRoyalOrchestraunderthebatonofPaul WhitemanGershwinwasthesoloistTheconvoluted 1924FerdeGroféorchestrationcallsforflute,oboe,four typesofclarinets,heckelphone[tenoroboe],fivetypesof saxophones,pairsofhorns,trumpets,flugelhorns,and trombones,withaddedeuphonium,basstrombone,andtuba,twopianos,celesta,banjo,timpani, percussion,drumset,violins,basses,andaccordionThemorestreamlined1942revisiononthis programisscoredforsolopiano,twoflutes,twooboes,twoclarinets,bassclarinet,twoalto saxophones,tenorsaxophone,twobassoons,threehorns,threetrumpets,threetrombones,tuba, timpani,percussion,banjo,andstrings
George Gershwin was a first generation American of Russian-Jewish parents By his late teens, he had learned the piano and became a “song-plugger’ in New York’s Tin Pan Alley - the area where the popular music publishing trade was centered. Gershwin would sit at the piano in the Remick showroom playing the latest sheet music for customers. From this experience, he became keenly aware of popular musical styles and began to compose his own songs, often with his younger brother, Ira, as lyricist. Over the course of only eight years, the Gershwins became established as the leading creative team on Broadway
It was this background that George Gershwin brought with him when he decided to write works for the concert hall, beginning with a grand experiment in 1924 that brought the world the Rhapsody in Blue as a work in the jazz idiom that changed the course of American music. Scholars often equate its impact to that of Stravinsky’s Rite of Spring eleven years earlier. Gershwin showed that many popular musicians are talented in many ways – in response to the accusation that has been hurled by an elitist musical establishment since vernacular music was first marketed in this country in the eighteenth century The Rhapsody is refined and structured, and pays allegiance more to the piano showpieces of Liszt and Tchaikovsky than to more popular forms, such as Joplin’s ragtime and W C Handy’s blues
The popular story behind the composition of the Rhapsody is that the famous bandleader Paul Whiteman approached Gershwin in 1924 about composing a jazzflavored work for the composer to play with Whiteman’s band. The bandleader believed that jazz music had made great progress since its beginnings and wanted to show that its influence was a positive addition to America’s multi-hued musical palette Gershwin agreed, but became too busy to act on the idea and eventually forgot the conversation When Whiteman discovered that a rival bandleader was planning a concert featuring symphonic works in the jazz idiom, he booked his band in New York’s Aeolian Hall and
PROGRAM NOTES (cont'd)
planned a similar concert of his own – at an earlier date. Most versions of the story have Gershwin hearing of the upcoming premiere from a newspaper advertisement before he had written a single note of the work. In a letter to a friend a few years later, Gershwin details a much more plausible version.
“I was summoned to Boston [on December 23, 1923] for the promotion of Sweet Little Devil. I had already done some work on the rhapsody. It was on that train, with its steely rhythms, its rattlety bang that is so often stimulating to a composer – I frequently hear music in the very heart of noise – I suddenly heard – and even saw on paper – the complete construction of the rhapsody, from beginning to end No new themes came to me, but I worked on the thematic material already in my mind, and tried to conceive of the composition as a whole I heard it as a sort of musical kaleidoscope of America, of our vast melting pot, of our national pep, of our blues, our metropolitan madness By the time I reached Boston, I had a definite plot of the piece, as distinguished from its actual substance ”
The composer most likely wrote the work in the 110th Street apartment in Manhattan that he shared with his parents and siblings He left for the final rehearsals of Sweet Little Devil in Boston on January 25, 1924, so it is likely that the work was completed by that time Ferde Grofé, Whiteman’s arranger, had been a regular fixture at the apartment, stopping by daily to collect finished pages so he could create the arrangement for the premiere It was not until Gershwin’s Concerto in F in late 1925 that the composer would feel comfortable with his own orchestrations
The premiere on February 12, 1924, was one of the most anticipated events of the New York concert season Attendees included dignitaries from a cross-section of the music industry – from Broadway, Fred and Adele Astaire; from the classical field, violinists Fritz Kreisler and Jascha Heifetz, conductor Leopold Stokowski, composers Leopold Godowsky, Igor Stravinsky, and Sergei Rachmaninoff; and bandmaster John Philip Sousa Billed as “An Experiment in Modern Music,” the concert featured nearly two dozen works and lasted about three hours Rhapsody in Blue was the next-to-last work on the program, representing a culmination of influences and serving as the musical focus. Rhapsody in Blue opens with one of the most familiar moments in music – a sultry slide of over two octaves played by a lone clarinet. Although Gershwin wrote this as a seventeen-note scale, the clarinetist of the Whiteman band, Ross Gorman, played it as the now-famous slide. Gershwin liked Gorman’s interpretation and changed his score. The remainder of the work is segmented into many sections constructed from five major themes, most of which feature the piano in a tour-de-force of popular and romantic techniques. A difficult cadenza, improvised by Gershwin at the premiere from a blank page in his piano part, lies at the heart of the work. For a work so new in such a variety of ways, it has always seemed appropriate that the title is also novel. After all, what does Rhapsody in Blue mean? The solution is simple. George Gershwin’s brother and lyricist, Ira, suggested the name after attending an exhibition of paintings by James McNeill Whistler. Ira found that the titles of the paintings – Nocturne in Black and Gold, Symphony in White, etc. – were overtly musical. Rhapsody in Blue seems completely appropriate.
©2023 Orpheus Music Prose & Craig Doolin www orpheusnotes com
THE PHILHARMONIC
VIOLIN I
Tim Kidder, Concertmaster
Sophie Bouwsma
Rosan Choi
Erin Flynn
Joseph Keum
Claire Gron Randall
Lynn Rovelli
Cheryl Stickley
VIOLIN II
Slavica Ilic, Principal
Rebecca Edelstein
Hannah Villa
Tasha Pulvermacher
Elena Spadaccino
Kelley Williams
Marisa Wright
VIOLAS
Sharon Wolfolk, Principal
Claire Bradfuhrer
Ann Levy
Adie Muller
Dennis Murphy
Rebecca Walker
CELLOS
Samuel Runolfson, Principal
Alex Cooper
Alix Gates
John "Jack" D Hall V
John Matzner
Amy Medearis
Melinda Ward
BASSES
Kim Johnson, Principal
Scott Freeman
David Lowe
Ephraim Wolfolk
FLUTES
Rachel Minto, Acting Principal
Julia Amadee
Eric Abalahin, piccolo
OBOES
Alicia McMahan, Acting Principal
Leslie Jewell
Jane Hughes, English horn
CLARINETS
Brittany Pemberton, Principal
Chris Epinger
Julie Pangelinan, bass clarinet
BASSOONS
Walter Wynn III, Principal
Jarrett Rodriguez
Robert Goler, contrabassoon
HORNS
Bernard Baiden, Principal
Klara Farren
Matthew Fonda
Aaron Meitz
TRUMPETS
Joshua Silva, Principal
JB Greear
Andy Schuller
TROMBONES
Bryan Bourne, Principal
Robb McDonald
Chris Thackery
TUBA
Karl Hovey
HARP
Heidi Sturniolo, Principal
Wendy Willis
TIMPANI
Bruce Davies
PERCUSSION
Randy Eyles, Principal
Emily Curran
Glenn Paulson
KEYBOARD
Tzuyi Chen
MEET OUR MUSIC DIRECTOR
"Collaborative... Engaging... Audience-ingratiating..." - Baltimore Sun
As Music Director of the Washington Metropolitan Philharmonic, Music Director/ Conductor of the Londontowne Symphony Orchestra, the AACC Symphony Orchestra at Anne Arundel Community College, and a frequent guest conductor on the national and international scene, Binneweg repeatedly captures audiences with her enthusiasm and passion for music. Putting her musicians, not herself, in the spotlight, Binneweg brings out the best in them. Her orchestras’ shared focus and energy makes orchestral music sound new, fresh and exciting. Her programs and
performances are alluring, engaging and attract diverse audiences of all ages, particularly making classical repertoire more appealing to younger generations. Over the course of her career, Binneweg has performed in some of the nation’s most reputable concert venues including the Kennedy Center’s Concert Hall, Meyerhoff Symphony Hall, and the Walt Disney Concert Hall. Her international conducting experiences include tours to Austria, Spain and debut appearances with the Chernihiv Philharmonic (Ukraine), Lviv Virtuosi (Ukraine) and the Minsk Conservatory Orchestra (Belarus). A committed music educator, Binneweg’s youth orchestra experience includes appointments with the Houston Youth Symphony (Houston, TX) and the San Luis Obispo Youth Symphony, in addition to her guest conducting appearances with colleges and universities throughout the United States. She is in frequent demand as an orchestra clinician and adjudicator throughout the Mid-Atlantic region and served on the national executive board of directors for the College Orchestra Directors Association (CODA) from 2014-2018. Binneweg has worked with conductors such as Leonard Slatkin, Daniel Barenboim, Robert Spano, James Paul, Michael Morgan, Duaine Wolfe, Nurhan Arman and David Effron through various engagements sponsored by the League of American Orchestras, the Conductors Institute of New York and the Royal Conservatory of Music in Toronto. Most recently, she was elected to the board of directors of the International Conductors Guild (2021). Earning a doctorate degree of music in orchestral conducting from Northwestern University where she studied with Victor Yampolsky, Binneweg has also served on the conducting faculties at Loyola University, the Sherwood Conservatory of Music, and American University.Like all conductors, Binneweg is the most visible part of the orchestra, the advocate and face of the ensembles she leads. As an active conductor of the 2022-2023 season, she remains committed to reigniting her community’s passion for live music and collaboration during these pandemic times.Binneweg is the recipient of the 2015 Annie Award for the Performing Arts awarded by the Arts Council of Anne Arundel County. www.annabinneweg.com
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THOMAS PANDOLFI is one of the leading pianists of our time, hailed a “phenomenon.” He began his career early on while at The Juilliard School (BM & MM) where the young prodigy caught the influential ear of Vladimir Horowitz, who would become his mentor, and legendary composer, Morton Gould Since then he has been an audience favorite, selling out the world’s most prestigious stages, including Lincoln Center’s Alice Tully Hall, Strathmore, The Kennedy Center, Kiev Opera House, Bucharest’s Romanian Athenaeum, London’s Cadogan Hall, and many others. DC Metro Arts
callshim,“exhilarating araremixoftechnicalaccuracyandcoolconfidence”“His artistryandtechniqueweresimplyastonishing,”saidtheMetropolitanArtsReviews. TheWashingtonPostboastedheisa“masterofboththegrandgestureandthe sensualline…Pandolfi'slarge-scalepianismseemedundertightcontrolyetinnoway mutedthepassionofhisperformance projectedwithanexquisitesenseoflyrical gesture.”“Astandoutamongtoday'syoungpianists...Hisvirtuosityandstrength… mighthavehadsomebelievingthatLiszthimselfhadtakenoverthekeyboard,”said theAshevilleCitizen-Times.“Themasteryofthescores,theprecisionoftheplaying, andthefinesseoftheexpressionwereallsimplyspectacularItwasatrulybravura performance,bothinthevirtuosicandinthereflectivepieces,yetonecompletely withoutgratuitousexaggerateddisplay,”acclaimedTheBostonMusicalIntelligencer
InadditiontobeingrecognizedasoneofthegreatestinterpretersofthePolish masterssuchasChopin,Paderewski,andGodowsky,thisversatilepianisthas receivedaccoladesfromeverythingfromBachtoGershwin,withMortonGouldsaying, “It’sthefinestperformanceofGershwinIhaveheardsincethecomposerhimself”His originalandvirtuosictranscriptionsofpopularworks,suchasWestSideStoryand PhantomoftheOpera,areone-of-kind,jaw-dropping,anddramaticencoresthatkeep audiencesofallagesreturningtohisperformancesagainandagain.Pandolfiisa SteinwayArtistandwillbeginrecordingforSteinwaySpiriolaterthisyear Mr Pandolfi’sperformanceshavebeenbroadcastbyPBS,WETA(Washington,DC),WQXR (NYC),WRCJ(Detroit),DCNTV(China),TheSound(DC),andmanyothersworldwide Duringhis2019-2020season,hewillcompletea20-statetouroftheUSA,hisfourth tourinChina,thirdtouroftheUK,andseventhtourofRomaniaandMoldova
BorninWashington,DCintoamusicalfamily,Pandolfibeganhisstudieswithhis fatherandcontinuedonwithprincipleteachersSashaGorodnitzki,AdeleMarcus, GyorgySandorHeholdsaBMandMMfromTheJuilliardSchoolMaestroPandolfiis availableforrecitals,concertos,andmasterclasses.
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wmpamusic.org/make-a-gift
ConnectwithWMPAandits programsbybecomingadonor! Yourgifthelpsprovideartisticand educationalexperiencesforallages anddiversebackgroundsinour community Helpdemonstratea commitmenttotheperformingarts andtoimprovingourcommunity Anydollaramountyougivewillmake adifferenceinthecreativeminds, hearts,andlivesofmany!
WMPAisa501(c)(3)organization
SPECIAL THANKS
Program funding provided by our donors, and in part by:
LOCAL BUSINESS PARTNER OPPORTUNITIES
Sponsoring the Washington Metropolitan Philharmonic will help put your company in the spotlight. We will work with your firm to provide you with the benefits that matter the most to you. Through your sponsorship you can:
ENHANCE brand image and awareness
BUILD business relationships
SHOW your commitment to arts and culture in our community
HELP the orchestra strengthen its connection with our community COMMUNICATE with a passionate audience of over 3K patrons, plus 30K+ reached through social media, email and website
SHOWCASE musicians of from WashMetPhil at your events.
To explore partnership opportunities, contact Executive and Artistic Planning Director Caroline Mousset at carolinemousset@wmpamusic.org
Join us in honoring our friend Ul by making a legacy gift today!
