Yale Philharmonia

THE PHILHARMONIA ORCHESTRA OF YALE a pr i l 2 0, 2 0 1 2 · fri d ay, 8 pm · woolsey hall

Jahja Ling, guest conductor

johannes brahms Academic Festival Overture, Op. 80

alberto ginastera Harp Concerto, Op. 25 Allegro giusto Molto moderato Liberamente capriccioso – Vivace

Intermission

a n t o n í n d v o Řá k Symphony No. 8 in G major, Op. 88, B. 163 Allegro con brio Adagio Allegretto grazioso – Molto vivace Allegro ma non troppo

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

pro g ra m no tes

Johannes Brahms » 1833–1897 Academic Festival Overture, Op. 80

Alberto Ginastera » 1916–1983

In 1876, Johannes Brahms was offered an honorary doctorate from the University of Cambridge. He declined, as he feared sea travel.

Three years later, the University of Breslau (now Wrocław, Poland) offered him an honorary doctorate. This time, he accepted. The citation called him “the foremost composer of serious music in Germany today.” (As one might imagine, Richard Wagner was none too pleased by this appellation.) After some prodding, Brahms realized that he should write a work for the university, which he began in the summer of 1880 and conducted in Breslau on January 4, 1881.

Edna Phillips, who in 1930 (at the age of twentytwo!) became the first female member of the Philadelphia Orchestra, is best remembered among harpists for the large corpus of music she commissioned for her instrument, including concertos by Ernst von Dohnányi, Nicolai Berezowsky, and Ernst Krenek. Arguably her most important commission was Alberto Ginastera’s Harp Concerto, Op. 25.

The philosophical faculty likely expected a grand symphonic work, considering their citation, but the Academic Festival Overture is perhaps the least serious orchestral work Brahms ever composed. Brahms called it “a very humorous potpourri of student songs à la Suppé.” However, unlike the overtures of Franz von Suppé, Brahms does not simply string these songs together, but develops them, both fragmentarily and in their entirety.

The overture begins with what sounds like a student conspiracy, followed by the first of the four student songs, “Wir hatten gebauet ein stattliches Haus,” in the trumpets. After this theme develops and modulates, we meet the second song, “Weihelied,” in the second violins. The conspiratorial rhythms return with the third song, “Fuchslied,” in the bassoons.

While the first two songs’ texts discuss lofty ideals of freedom and democracy, the “Fuchslied” is a drinking song about a freshman from the provinces who soon learns the ways of the world. Fragments of these three songs play off each other for the remainder of the overture, until, almost without warning, the work ends with a full orchestral statement of the greatest of student songs, “Gaudeamus igitur.” (Regrettably, Brahms was unfamiliar with “Boola Boola.”)

Harp Concerto, Op. 25

For the Argentinean composer Ginastera, the date of the commission—early 1956—marked the beginning of a period of relative freedom.

A frequent vocal opponent of Juan Perón, Ginastera experienced a loosening of his political and artistic leash following a coup which deposed Perón’s regime in 1955. As a result, Ginastera began experimenting with dodecaphony. While the Harp Concerto is never serial, it is effectively atonal, though never abrasively so—its constant references to South American popular styles, particularly dance rhythms, often obscure its dissonant harmonies.

The first movement, in sonata form, explores two themes with different rhythmic profiles— the first alternates rather unpredictably between 6/8 and 3/4, while the second is accompanied by a constant succession of pulsing quarter notes. After a cadenza and recapitulation, the coda provides an abrupt change in atmosphere —suddenly the harp plays in harmonics above an extended pedal point, and the movement ends following a series of frigid chords in the orchestra.

While the soloist and orchestra are essentially companions in the first movement, they become more or less unmindful of each other in the second movement. The orchestra attempts to develop a series of fughettas, but is consistently interrupted by the harp, playing a quasi-chorale which disintegrates into a free cadenza, and, in the movement’s final measures, reforms into the chorale.

The last movement begins with the work’s longest cadenza, in which the harp becomes a stand-in guitar—it opens with the harp playing the notes of the guitar’s open strings transposed down a half-step, and periodically refers to that sequence of pitches. When the orchestra enters, it begins a quick dance in 3/8, featuring the tom-toms and complete with a catchy tune, which leads up to a final bravura harp climax.

Antonín Leopold Dvořák » 1841–1904

Symphony No. 8 in G major, Op. 88, B. 163 Antonín Dvořák’s Eighth Symphony has a reputation, alongside works like Brahms’ Second, as one of the sunnier symphonies of the high Romantic. Composed in the second half of 1889, the work is dedicated to the Bohemian Academy of Arts and Literature, which had just elected Dvořák a member. And it certainly doesn’t lack sunniness—there is an abundance of major triadic motion in the melodic and accompanimental material of the opening movement; the theme of the third movement’s trio, played by a duetting flute and oboe, is unabashedly charming; and the whole of the final movement’s theme and variations, from its arresting opening trumpet fanfare until the basses’ last chromatic ascent to the tonic, is grin-inducing.

leave that land almost completely, as even the later statements of the opening theme lack the same atmosphere.Similarly, the opening of the second movement exists on a different plane and in a different key (E-flat major) than the majority of the movement (C minor). And the third movement’s first two themes are constructed primarily of downward stepwise motion.

Even in the joy of the finale, the primary melodic material is first played by the cellos humming deeply in unison. Sunny? Certainly, but in this work, it seems as though the breadth of human emotions, from world-weariness to elation, exists within a very small space.

Program notes by Ken Miller

But at least for this listener, the Eighth’s most unforgettable moments are those which go against its cheerful tendencies. Take, for instance, the very opening measures of the entire symphony: from simply reading the program, one might assume with good reason that the first movement should begin briskly and in G Major. However, Dvořák begins very clearly in G Minor, and although the orchestra’s tempo marking is indeed Allegro con brio, the primarily half-note rhythmic motion gives it the air of an Andante. These might well be the most sublime measures in the entire symphony —the funereal pulsing in the violas and basses, the wistful melody in the cellos and winds, and the effortless harmonic move into the Neapolitan make this passage astonishingly poignant. After only thirty seconds, though, a solo flute removes us from the land of melancholy. For the rest of the movement, we

Tonight, donations for famine relief in the Horn of Africa are being accepted through the Office for Diversity and Equal Opportunity at the Graduate School of Arts and Sciences, in conjunction with the Peace Islands Institute and the Helping Hands Relief Foundation.

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Jahja Ling guest conductor

Kristan Toczko harp

Jahja Ling’s conducting has earned him worldwide acclaim for his musical integrity and depth of expression. Now in his sixth season as music director of the San Diego Symphony, Mr. Ling has received the highest praise for his live performances, broadcasts, and recordings. Under his leadership, the San Diego Symphony has reached unprecedented artistic excellence.

Since the age of 9, Kristan Toczko has been playing both harp (classical and celtic) and piano, and has found her place on stage with both instruments. Ms. Toczko began her instrumental studies through the Royal Conservatory of Music program in her hometown of Moncton, New Brunswick, receiving several awards for both harp and piano. She graduated with a B.Mus. in harp performance from McGill University, where she studied with Montreal Symphony principal harpist Jennifer Swartz, and is currently a M.M. candidate at Yale University studying with June Han. In 2005 Ms. Toczko was one of two named a Jeunes Artiste for Atlantic Canada, in which she was awarded a recording session for national broadcast by CBC Radio-Canada. The following year she was invited to give a solo concert at the Baie des Chaleurs International Chamber Music Festival. In 2010, Ms. Toczko placed first in the harp category of the prestigious OSM Standard Life Competition in Montreal, receiving the Banff Centre for the Arts Prize.

In 2011, she was a prizewinner in the ECSO Concerto Competition and a winner in Yale’s Woolsey Hall Concerto Competition and the Chamber Music Society Competition. Ms. Toczko was invited to participate in the 11th World Harp Congress and Festival in Vancouver this summer to perform in a solo concert and as a soloist with the Vancouver Symphony Orchestra. Ms. Toczko is an avid orchestral harpist, who has performed as principal harpist with several orchestras in eastern Canada.

Studying with Heidi Krutzen, Ms. Toczko has toured twice with the National Youth Orchestra of Canada in both Canada and the U.S.A. She recently attended the Aspen Music Festival and School, studying under Deborah Hoffman and Nancy Allen, and this summer she attended the National Orchestral Institute studying with Elizabeth Hainen.

Born in Jakarta, Indonesia, Mr. Ling won the Jakarta Piano Competition at age 17. He earned a master’s degree from the Juilliard School and the Doctor of Musical Arts degree from the Yale School of Music in 1985. As a guest conductor, Mr. Ling has conducted all of the major symphony orchestras in North America, including Boston, Chicago, Cleveland, Los Angeles, New York, Philadelphia, Pittsburgh, and San Francisco, and as guest conductor for most of the prominent orchestras in Asia and Europe.

From 1998 to 2001, Mr. Ling served as artistic director of the Taiwan National Symphony.

With the Cleveland Orchestra, Mr. Ling served as associate conductor during the 1984–85 season, as resident conductor for 17 years thereafter, and as Blossom Festival director for six seasons. Deeply committed to music education, Mr. Ling served as founding music director of the Cleveland Orchestra Youth Orchestra (1986–1993) and the San Francisco Symphony Youth Orchestra (1981–84).

Mr. Ling’s recordings include a range of works on the Telarc, Azica Records, and Continuum labels. Jahja Ling is also an accomplished pianist, having won a bronze medal at the 1977 Arthur Rubinstein International Piano Master Competition and a certificate of honor at the Tchaikovsky International Piano Competition.

He has appeared as both piano soloist and conductor with numerous U.S. and international orchestras.

a b o ut th e yale p hilharmonia

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.

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.

jahja ling Guest Conductor shinik hahm Conductor krista johnson Managing Director roberta senatore Music Librarian kate gonzales Production Assistant yang jiao Assistant Conductor paolo bortolameolli Assistant Conductor

The Philharmonia Orchestra of Yale violin 1 David Radzynski Hye Jin Koh Hyun Sun Sul Hen Shuo Chang Shawn Moore Brian Bak Go Woon Choi Seok Jung Lee Nayeon Kim Edward Tan Ji Hyun Kim Eun-young Jung Jiin Yang Geoffrey Herd violin 2 Holly Piccoli Edson Scheid Sung Mao Liang Laura Keller Christian Sitzmann Igor Pikayzen Tammy Wang Piotr Filochowski Yoon Won Song Tao Zhang Minhye Helena Choi Yuan Ma Jiin Yang viola Eleanor Kendra James Sara Rossi Timothy Lacrosse Colin Brookes Jane Mitchell Leonard Chiang Dashiel Nesbitt On You Kim Dan Zhang Heejin Chang Jessica Li cello Sung Chan Chang Arnold Choi Shinae Kim James Jeonghwan Kim Hae Yoon Shin Joonhwan Kim Jia Cao

Bo Zhang Weipeng Liu Elisa Rodriquez Sadaba Qizhen Liu Christopher Hwang bass NaHee Song Nicholas Jones Gregory Robbins Michael Levin Paul Nemeth Matthew Rosenthal Jonathan McWilliams flute Rosa Jang Cho-Long Kang Anouvong Liensavanh 1, 2, 3 Ginvera Petrucci oboe Hsuan-Fong Chen Kristin Kall 1 Ji Hyun Kim 2 Rebecca Kim 3 clarinet Soo Jin Huh Gleb Kanasevich 1, 2 Wai Lau 3 Matthew Griffith bassoon Yuki Katayama 1, 2 Meryl Summers 3 Scott Switzer Lauren Yu horn Craig Hubbard Lauren Hunt Patrick Jankowski 2 Jessica Lascoe Jamin Morden 1 Ian Petruzzi 3 trumpet John Allen John Ehrenburg 2 Paul Futer 1 Jean Laurenz

Gerardo Mata Gerald Villella 3 trombone Matthew Russo 1 Hana Beloglavec 3 Jeffrey Arredondo tuba Landres Bryant timpani Michael Compitello 2 Cristobal Gajardo-Benitez 3 Adam Rosenblatt 1 percussion Victor Caccese Michael Compitello Cristobal Gajardo-Benitez Leonardo Gorosito Adam Rosenblatt celeste Melody Quah 1 Principal in Brahms 2 Principal in Ginastera 3 Principal in Dvorak assistant Benjamin Firer music librarians Cristobal Gajardo-Benitez Timothy Hilgert • Wai Lau Qizhen Liu • Rachel Perfecto Holly Piccoli • Matthew Rosenthal Kathryn Salfelder • Kaitlin Taylor stage crew John Allen • Jonathan Allen Jeffrey Arrendondo • Colin Brookes Timothy Hilgert • Michael Levin Jonathan McWilliams • Shawn Moore Matthew Rosenthal • Aaron Sorensen Gerald Villella

up co m ing ev ents

» music.yale.edu APR 27 & 28

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The Rape of Lucretia yale opera Fri & Sat, 8 pm | Sprague Hall | $10–15, Students $5

Yale Opera’s new production of Britten’s The Rape of Lucretia. Vera Calabria, stage director; Douglas Dickson, musical director.

MAY 01

Chamber Music Competition Winners oneppo chamber music series Tue, 8 pm | Sprague Hall | $10–15, Students $5

Cage: Third Construction; Rogert Smalley: Trio for clarinet, viola, and piano; Strauss/Hasenohrl: Till Eulenspiegel; Brahms: Piano Trio in C Major, Op. 87.

MAY 03

Baroque Orchestral Suites

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early music Thu, 8 pm | Sprague Hall | Free Admission

Dancing through Time: orchestral suites

by Lully, Purcell, and Rameau.

Robert Mealy, director.

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