THE PHILHARMONIA ORCHESTRA OF YALE n o v e m ber 17, 2 0 1 1 · t hursd ay, 8 pm · w o o ls e y h all
Shinik Hahm conductor
felix mendelssohn Overture to A Midsummer Night's Dream, Op. 21 Paolo Bortolameolli, conductor
johannes brahms Piano Concerto No. 1 in D minor, Op. 15 I. Maestoso II. Adagio III. Rondo: Allegro non troppo Lindsay Garritson, piano
sergei rachmaninoff Symphonic Dances, Op. 45 I. Non allegro II. Andante con moto (Tempo di valse) III. Lento assai – Allegro vivace – Lento assai. Come prima – Allegro vivace
As a courtesy to others, please silence all cell phones and devices. Photography of any kind is strictly prohibited. Please do not leave the hall during musical selections. Thank you.
Robert Blocker, Dean
p ro g ram notes
Felix Mendelssohn » 1809–1847
Overture to A Midsummer Night’s Dream, Op. 21 In the history of Western classical music, there has probably been no greater child prodigy than Felix Mendelssohn. While the young Mozart was celebrated throughout Europe for his prodigious musical skill, no less an artistic figure than Goethe told Mendelssohn’s music teacher, Carl Friedrich Zelter, “What this little man can do in extemporizing and playing at sight borders the miraculous, and I could not have believed it possible at so early an age…. What your pupil already accomplishes, bears the same relation to the Mozart of that time that the cultivated talk of a grown-up person bears to the prattle of a child.” What Mendelssohn accomplished as a composer before the age of eighteen is remarkable. Between the ages of twelve and fourteen, he wrote a dozen string symphonies. These show the depth of his training, particularly in the contrapuntal style of Bach. He wrote his first published works, a set of piano quartets, by the time he was thirteen. At fifteen, his first orchestral symphony appeared. Yet even these brilliant works pale in comparison with the two masterpieces of Mendelssohn’s youth, the gargantuan Octet for Strings in E-flat major, written while Mendelssohn was only sixteen, and the Overture to A Midsummer Night’s Dream. The Overture, composed a year after the Octet in 1826, was described by musicologist Charles Grove as “the greatest marvel of early maturity that the world has ever seen in music.” It is perhaps the first example of a concert overture — a work composed to evoke a literary theme, rather than to introduce a staged performance. Cast in an extended sonata form, the piece is also noted for its descriptive instrumental effects, which often seem to bring Shakespeare’s characters to life. Listen particularly for the emulation of scampering fairies at the beginning and the braying of Bottom as an ass. The lightness of the opening of the overture is striking. Mendelssohn’s biographer, Heinrich Eduard Jacob, said that Mendelssohn had scribbled the chords after hearing an evening breeze rustle the leaves in the family garden. –Jordan Kuspa
Johannes Brahms » 1833–1897
Piano Concerto No. 1 in D minor, Op. 15 Brahms may not have been a true prodigy like Mendelssohn, but he was recognized as a major talent early in his life. A meeting with the eminent violinist Joseph Joachim in 1853 led to an introduction to Robert Schumann, who was so impressed with the twenty-yearold Brahms that he felt compelled to publish an article in his journal, the Neue Zeitschrift für Musik, which sang the praises of the young man. Schumann claimed Brahms was “destined to give ideal expression to the times.” Soon after Schumann’s attempted suicide in February 1854, Brahms began sketching a largescale orchestral work, which he had hoped would become an epic symphony in D minor. Brahms, a notorious perfectionist, worked on the composition for several years, morphing his original material from a planned symphony, to a sonata for two pianos, and finally into what would become his First Piano Concerto. Brahms felt that he did not yet posses the skill in writing for the orchestra that he would require to sustain interest throughout a symphony, so he instead relied on his prodigious talent as a pianist and composer for the piano to reshape the work into a concerto. As the form of the work developed, Brahms only kept the original material from the work’s first movement. He discarded all of his other sketches and composed two entirely new movements. The first movement bears the clear influence of Beethoven’s Ninth Symphony, not only in its D minor tonality, but also in its gigantic scope and dramatic gestures. Walter Frisch notes, “The first theme of the concerto recalls Beethoven’s Ninth in its angularity, rhythmic energy, and use of a throbbing timpani pedal point. Brahms also explored the tonal relationship between D minor and B major characteristic of the Ninth.” Brahms called the second movement a “gentle portrait” of Schumann’s wife, Clara. The new finale Brahms composed has a strong resemblance to the third movement of Beethoven’s Third Piano Concerto, particularly in its formal design. After its completion in 1856, the First Piano Concerto was premiered on January 22, 1859, in Hanover, Germany, with the now 25-yearold composer as soloist. When the work was performed in Leipzig five days later, the audience hissed at the concerto and critics
art ist p ro f i le s
savaged it, calling the piece “perfectly unorthodox, banal, and horrid.” In a letter to Joachim, Brahms sadly related, “I am only experimenting and feeling my way…. All the same, the hissing was rather too much.” Today the work is seen as one of the greatest and most powerful masterpieces of the entire piano concerto literature. –Jordan Kuspa
Sergei Rachmaninoff » 1873–1943 Symphonic Dances, Op. 45
The years 1918–1934 found Rachmaninoff largely occupied with appearances in the U.S. and Europe as a conductor and pianist. In a letter he bemoaned the division of his attention which left him little time for composing, and he compared himself to a hunter chasing after three hares. This creative dry period was broken in the years 1934–1940, when the composer created his three important late works: the Third Symphony, the Rhapsody on a Theme by Paganini, and the Symphonic Dances. In his earlier works Rachmaninoff unapologetically adhered to a Russian Romantic tradition represented primarily by Tchaikovsky, long after it was popular to do so. His later works continue in this vein but also take on some new characteristics. His instrumentation discards some of its lushness in favor of emphasizing individual tone qualities. Rachmaninoff adds to his palette harmonies that are at times pungent, wry, or even grotesque. The first movement of the Symphonic Dances provides a telling example of Rachmaninoff ’s later style. Its outer two sections are set as an ironic march that is accompanied at its outset by a stark repeating pattern of open fifths. The middle section dispenses with irony and gives instead an intimate melody first in a solo alto saxophone, then in unison strings. The second movement is a ghostly waltz that further explores the composer’s more experimental harmonies. The final movement quotes two religious themes, the Dies irae and a Russian hymn of praise, “Blessed be the Lord.” –David Heetderks
Shinik Hahm conductor A dynamic and innovative conductor, Shinik Hahm is also the chief conductor of the KBS (Korean Broadcasting System) Symphony Orchestra. Concurrently, he is a professor of conducting at the Yale School of Music, where he leads the Philharmonia Orchestra of Yale. Maestro Hahm has led the KBS Symphony on tour with concerts at the General Assembly of the United Nations, Carnegie Hall, and the Kennedy Center. His extensive work in China includes collaborations with the China Philharmonic Orchestra, Guangzhou Symphony Orchestra, Shenzhen Symphony, and Shanghai Opera. He is an honorary professor of Hwa Gong University. In 2006 he successfully completed his tenure as the artistic director and principal conductor of the Daejeon (Korea) Philharmonic Orchestra, with which he toured the United States and Japan. Hahm served as music director of the Abilene Philharmonic Orchestra from 1993 to 2003 and was profiled on ABC’s World News Tonight for his role in rejuvenating the Abilene community. His leadership has been similarly vital to the Tuscaloosa Symphony, where he has been music director for ten years. Hahm has led the Philharmonia Orchestra of Yale at Carnegie Hall and in Boston, Seoul, Beijing, and Shanghai. His students at Yale have won top prizes at the Besançon, Pedrotti, and Toscanini conducting competitions. Shinik Hahm has won the Gregor Fitelberg Competition for Conductors, the Walter Hagen Conducting Prize from the Eastman School of Music, and the Shepherd Society Award from Rice University. In 1995 he was decorated by the Korean government with the Arts & Culture Medal.
Paolo Bortolameolli assistant conductor
Lindsay Garritson piano
Paolo Bortolameolli is a graduate both of the Arts Faculty of Universidad de Chile, where he studied conducting with David del Pino Klinge, and from Pontificia Universidad Católica, where he studied piano with Frida Conn. He is now in his first year of the Master of Music degree program in orchestral conducting at the Yale School of Music, under the guidance of Shinik Hahm.
As pianist and violinist, Lindsay Garritson has been touring the country and abroad since the age of four. Her piano teachers include Boris Berman, Luiz de Moura Castro, Zena Ilyashov, Emilio Del Rosario, the late Jane Allen, and Jennifer Lim. As winner of several concerto competitions, Lindsay has performed with the St. Louis Symphony Youth Orchestra, University City Symphony, Belleville Philharmonic, and the European Philharmonic Orchestra, among others. Most recently, she was awarded second prize in the 2011 Montreal International Piano Competition and first prize at the 2010 Mozarteum International Chopin Competition in Salzburg. She has participated in numerous music festivals including the Aspen, Innsbrook, Orford (Canada), and the International Holland Music Sessions.
In Chile, Paolo was the principal conductor of a youth orchestra for the last three years and assistant conductor of Orquesta USACH. Recently he performed with the Orquesta de la Universidad de Concepción and the National Symphonic Orchestra of Perú. As a pianist, Paolo won first prize in the National Chopin Competition in 2003. In 2005, he won the National Competition for Young Soloists, playing Tchaikovsky’s Piano Concerto No. 1 in B-flat minor with the National Symphonic Orchestra of Chile.
As a violinist, Lindsay was concertmaster of the St. Louis Symphony Youth Orchestra from 2003 to 2006. She has had the honor of performing for such dignitaries as Jimmy Carter and Colin Powell, and she has participated in master classes with Leonidas Kavakos and Lewis Kaplan. Her teachers have included John Kendall, the founder of the Suzuki movement in the United States, and she currently studies with Kyung Yu at Yale. Lindsay received her B.A. in music from Principia College, her M.M. in piano performance from Yale School of Music in 2010, and the Artist Diploma from Yale as a student of Boris Berman in 2011.
a b o ut yal e p h ilharmonia
The Philharmonia Orchestra of Yale is one of America’s foremost music school ensembles. The largest performing group at the Yale School of Music, the Philharmonia offers superb training in orchestral playing and repertoire.
shinik hahm Music Director
Performances include an annual series of concerts in Woolsey Hall, as well as Yale Opera productions in the Shubert Performing Arts Center. The Yale Philharmonia has also performed on numerous occasions in Carnegie Hall and Alice Tully Hall in New York City and at the Kennedy Center in Washington, D.C. The orchestra undertook its first tour of Asia in 2008, with acclaimed performances in the Seoul Arts Center, the Forbidden City Concert Hall and National Center for the Performing Arts (Beijing), and the Shanghai Grand Theatre.
roberta senatore Librarian
krista johnson Managing Director
kate gonzales Production Assistant yang jiao Assistant Conductor paolo bortolameolli Assistant Conductor
The Philharmonia Orchestra of Yale violin 1 Victor Fournelle-Blain, concertmaster Hye Jin Koh Sung Mao Liang Hen Shuo Chang Yuan Ma Shawn Moore Edward Tan Ji Hyun Kim Yoon Won Song Jiin Yang Tammy Wang Ki Won Kim Eun-Young Jung Christian Sitzmann Jiwon Kwark Seok Jung Lee
Bo Zhang Elisa Rodriquez Sadaba Weipeng Liu Andrew Hayhurst Christopher Hwang Qizhen Liu James Jeonghwan Kim
violin 2 Laura Keller, principal Hyun Sun Sul David Radzynski Brian Bak Geoffrey Herd Tao Zhang Nayeon Kim Jacob Ashworth Minhye Helena Choi Piotr Filochowski Kayla Moffett Edson Scheid
flute & piccolo Cho-Long Kang 2, 3 piccolo Anouvong Liensavanh 1, 3* Ginevra Petrucci 1*, 2*, 3
viola Minjung Chun, principal Leonard Chiang Heejin Chang Dashiel Nesbitt Jessica Li Colin Brookes Dan Zhang Jane Mitchell Sara Rossi Timothy Lacrosse On You Kim cello Sun Chan Chang, principal Joonhwan Kim Shinae Kim Soo Jin Chung Jia Cao
bass Jonathan McWilliams, principal Nicholas Jones Michael Levin Matthew Rosenthal NaHee Song Andrew Small Paul Nemeth Asa Maynard
oboe Hsuan-Fong Chen 1, 2*, 3 Kristin Kall 3* Ji Hyun Kim 1*, 2, 3 English horn clarinet Gleb Kanasevich 1*, 3 bass clarinet Igal Levin 2*, 3 David Perry 1, 2, 3* alto saxophone Vincent Oneppo 3 bassoon Elisabeth Garrett 1, 2 Helena Kranjc 3* Meryl Summers 1*, 2*, 3 Scott Switzer 3 contrabassoon horn Craig Hubbard 3* Lauren Hunt 2, 3 Jessica Lascoe 1, 2* Jamin Morden 2, 3 Mimi Zhang 1*, 2, 3 trumpet John Ehrenburg 1*, 2
Jean Laurenz 3* Gerado Mata 1, 2*, 3 Gerald Villella 3 trombone Jeffery Arredondo 3 Hana Beloglavec 3* Benjamin Firer 3 tuba Landres Bryant 1, 3 timpani Michael Compitello 2 Leonardo Gorosito 1, 3 percussion Jonathan Allen 3 Victor Caccese 3 Michael Compitello 3 Cristobal Gajardo-Benitez 3 Adam Rosenblatt 3 Harp Yue Guo 3 piano Hwa Young An 3 1 Player in Mendelssohn 2 Player in Brahms 3 Player in Rachmaninoff * Principal player assistant Benjamin Firer music librarians Cristobal Gajardo-Benitez Timothy Hilgert • Wai Lau Holly Piccoli • Matthew Rosenthal Kathryn Salfelder • Kaitlin Taylor stage crew John Allen • Jonathan Allen Landres Bryant • Colin Brookes Timothy Hilgert • Michael Levin Matthew Rosenthal • Aaron Sorensen Gerald Villella
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