Yale Philharmonia, Feb 26

yale philharmonia

Heejung Park, conducting fellow February 26, 2016 • Morse Recital Hall in Sprague Hall

Robert Blocker, Dean

Yale School of Music

yale philharmonia Friday, February 26, 2016 • 7:30 pm • Morse Recital Hall Heejung Park, conducting fellow

Peter Lieberson 1946–2011

Neruda Songs (2005) I. Si no fuera porque tus ojos tienen color de luna II. Amor, amor, las nubes a la torre del cielo III. No estés lejos de mí un solo día, porque cómo IV. Ya eres mía. Reposa con tu sueño en mi sueño V. Amor mío, si muero y tú no mueres Evanna Chiew, mezzo-soprano intermission

Ludwig van Beethoven 1770–1827

Piano Concerto No. 3 in C minor, Op. 37 I. Allegro con brio II. Largo III. Rondo. Allegro — Presto Wai Yin Wong, piano

Joseph Haydn 1732–1809

Symphony No. 94 in G major, Hob. I:94, “Surprise” I. Adagio — Vivace assai II. Andante III. Menuetto (Allegretto) — Trio IV. Finale (Presto ma non troppo)

As a courtesy to the performers and audience, please silence all electronic devices.

Please do not leave the hall during selections. Photography or recording of any kind is prohibited.

Texts & Translations

peter lieberson Neruda Songs I. Si no fuera porque tus ojos tienen color de luna

I. If your eyes were not the color of the moon

Si no fuera porque tus ojos tienen color de luna, de día con arcilla, con trabajo, con fuego, y aprisionada tienes la agilidad del aire, si no fuera porque eres una semana de ámbar,

If your eyes were not the color of the moon, Of the day of clay, work, and fire, And, imprisoned, still held the agility of the air, If you were not a week of amber,

si no fuera porque eres el momento amarillo en que el otoño sube por las enredaderas y eres aún el pan que la luna fragante elabora paseando su harina por el cielo,

If you were not the yellow moment In which autumn rises through the vines And if you were not the bread that the fragrant moon kneads, Sprinkling its flour across the sky,

oh, bienamada, yo no te amaría!

En tu abrazo yo abrazo lo que existe, la arena, el tiempo, el árbol de la lluvia,

Oh, beloved, I would not love you so!

In embracing you, I embrace all that exists: Sand, time, the tree of rain.

y todo vive para que yo viva: sin ir tan lejos puedo verlo todo: veo en tu vida todo lo viviente.

And everything lives so that I live: Without going so far, I can see everything: I see in your life all the living things.

II. Amor, amor, las nubes a la torre del cielo

II. Love, love, the clouds to the tower of the sky

Amor, amor, las nubes a la torre del cielo subieron como triunfantes lavanderas, y todo ardió en azul, todo fue estrella: el mar, la nave, el día se desterraron juntos.

Love, love, the clouds to the towers of the sky Rose like triumphant washer women, And everything blazed in blue, everything was starry: The sea, the ship, the day were all exiled together.

Ven a ver los cerezos del agua constelada y la clave redonda del rápido universo, ven a tocar el fuego del azul instantáneo, ven antes de que sus pétalos se consuman.

Come see the cherries of the constellated water, And the round key of the rapid universe, Come touch the fire of the instantaneous blue, Come, before its petals are consumed.

Texts & Translations

No hay aquí sino luz, cantidades, racimos, espacio abierto por las virtudes del viento hasta entregar los últimos secretos de la espuma.

There is nothing here but light, quantities, clusters, Space opened by the virtues of the wind Until it delivers the last secrets of the foam.

Y entre tantos azules celestes, sumergidos, se pierden nuestros ojos adivinando apenas los poderes del aire, las llaves submarinas.

And between so many celestial blues, submerged, Our eyes wander, hardly guessing at The powers of the air, the underwater keys.

III. No estés lejos de mi

III. Don't be far from me

No estés lejos de mí un solo día, porque cómo, porque, no sé decirlo, es largo el día, y te estaré esperando como en las estaciones cuando en alguna parte se durmieron los trenes.

Don't be far from me a single day, because, Because, I don't know how to say it, the day is long And I'll be waiting, as at a station When the trains are asleep somewhere else.

No te vayas por una hora porque entonces en esa hora se juntan las gotas del desvelo y tal vez todo el humo que anda buscando casa venga a matar aún mi corazón perdido.

Don't go for a single hour, because In this hour, the drops of anguish will come together And perhaps all the smoke that goes looking for a home Will come, choking my lost heart.

Ay que no se quebrante tu silueta en la arena, ay que no vuelen tus párpados en la ausencia: no te vayas por un minuto, bienamada,

Ah, may your silhouette never dissolve on the beach, Ah, may your eyelids never flutter into the distance: Don't go for a single minute, beloved,

porque en ese minuto te habrás ido tan lejos que yo cruzaré toda la tierra preguntando si volverás o si me dejarás muriendo.

Because in this minute you will have gone so far That I will cross the whole Earth, wondering If you will return or if you will leave me here, dying.

Texts & Translations

IV. Ya eres mía

IV. Now you are mine

Ya eres mía. Reposa con tu sueño en mi sueño.

Amor, dolor, trabajos, deben dormir ahora.

Gira la noche sobre sus invisibles ruedas y junto a mí eres pura como el ámbar dormido.

Now you are mine. Rest with your dream in my dream.

Love, pain, work must all sleep now.

The night turns on its invisible wheels And with me, you are pure like sleeping amber.

Ninguna más, amor, dormirá con mis sueños.

Irás, iremos juntos por las aguas del tiempo.

Ninguna viajará por la sombra conmigo, sólo tú, siempreviva, siempre sol, siempre luna.

No one else, love, will sleep in my dreams.

You go, we go together through the waters of time.

No one travels through the shadows with me, Only you, ever-living, ever sun, ever moon.

Ya tus manos abrieron los puños delicados y dejaron caer suaves signos sin rumbo, tus ojos se cerraron como dos alas grises,

Now your hands have opened their delicate fists And dropped their gentle signs aimlessly, Your eyes closed like two grey wings,

mientras yo sigo el agua que llevas y me lleva: la noche, el mundo, el viento devanan su destino, y ya no soy sin ti sino sólo tu sueño.

As I follow the water that you carry, that carries me: The night, the world, the wind spin out their destiny, And now I am nothing without you, only your dream.

Texts & Translations

V. Amor mío, si muero y tú no mueres

V. My love, if I die and you do not

Amor mío, si muero y tú no mueres, no demos al dolor más territorio: amor mío, si mueres y no muero, no hay extensión como la que vivimos.

My love, if I die and you do not, Let us not give pain more territory: My love, if you die and I don't, There is no expanse like that which we live.

Polvo en el trigo, arena en las arenas el tiempo, el agua errante, el viento vago nos llevó como grano navegante.

Pudimos no encontrarnos en el tiempo.

Dust in the wheat, sand in the desert, Time, the errant water, the vague wind Took us like a wayfaring grain.

We could have not found each other in time.

Esta pradera en que nos encontramos, oh pequeño infinito! devolvemos.

Pero este amor, amor, no ha terminado,

This meadow where we find ourselves, O, little infinity! We give it back.

Because this love, love, has no end,

y así como no tuvo nacimiento no tiene muerte, es como un largo río, sólo cambia de tierras y de labios.

And as it had no birth, It has no death, it is like a long river, Only changing lands and lips.

Texts by Pablo Neruda

English translations by Evanna Chiew

Notes on the Program

Peter Lieberson » 1946–2011 Neruda Songs (2005) When James Levine conduced the premiere of the Neruda Songs with the Boston Symphony Orchestra in 2005, he called the work “a kind of miracle.” Lieberson’s wife and the dedicatee of the five-song cycle of poetry from Pablo Neruda’s 100 Love Sonnets, mezzo-soprano Lorraine Hunt Lieberson, had canceled all of her season engagements due to a fierce battle with breast cancer. But remarkably, she sang the premiere just eight months before her death in 2006. Lorraine’s radiant performance of this piece is as much dedicated to her partner as the score was dedicated to her. The last song, “My love if I die and you do not die,” is a powerful plea from the lover to the beloved to celebrate life rather than mourn death. It as if the composer chose this text to hear his beloved recite it back to him. Both Liebersons seem acutely engaged in a dialogue between kindred souls only possible in the absence of words — or rather, made possible with music.

The composer writes of the poetry: Each of the five poems that I set to music seemed to me to reflect a different face in love’s mirror. The first poem, “If your eyes were not the color of the moon,” is pure appreciation of the beloved. The second is joyful and also mysterious in its evocation of nature’s elements: fire, water, wind, and luminous space. The third poem reflects the anguish of love, the fear and pain of separation.

The fourth poem is complex in its emotional tone. First there is the exultance of passion.

Then, gentle, soothing words lead the beloved

into the world of rest, sleep, and dream. Finally, the fifth poem is very sad and peaceful at the same time. There is the recognition that no matter how blessed one is with love, there will be a time when we must part from those whom we cherish so much. Still, Neruda reminds one that love has not ended. In truth there is no real death to love nor even a birth: “It is like a long river, only changing lands, and changing lips.”

— Katherine Balch Ludwig van Beethoven » 1770–1827 Piano Concerto No. 3 in C minor, Op. 37 Ignaz Seyfried, Beethoven’s page-turner at the premiere of the Third Piano Concerto, wrote of the occasion: I saw almost nothing but empty leaves; at the most, on one page or another a few Egyptian hieroglyphs, wholly unintelligible to me were scribbled down to serve as clues for him; for he played nearly all of the solo part from memory since, as was so often the case, he had not had time to set it all down on paper.

He gave me a secret glance whenever he was at the end of one of the invisible passages, and my scarcely concealable anxiety not to miss the decisive moment amused him greatly and he laughed heartily at the jovial supper which we ate afterwards.

This amusing story sheds light on the role of the piano concerto in Beethoven’s career.

Seyfried’s theory that Beethoven had not had time to set down the piano part is probably not the whole truth. It was part of the pianist/composer mystique to allow for a degree of improvisation in perform-

Notes on the Program

ance, and it wasn’t until a year later that the solo part was written down. Also, as a composer who was trying to make a living as a performing virtuoso, Beethoven would have wanted to ensure that only he himself had access to the solo part. It was in aid of enhancing his status as both performer and composer that the piece was premiered in April of 1803, during a marathon Beethoven-fest that also included the First and Second Symphonies and the oratorio Christ on the Mount of Olives.

The first movement evokes a militaristic setting, the occasionally aggressive outbursts perhaps anticipating the turmoil of the Fifth Symphony. The orchestra presents all of the thematic ideas in its opening statement, and the piano restates and develops them in rhetorical dialogue with the orchestra. Apart from the exceptional length of the orchestral exposition, there is nothing formally innovative about the general discourse of the movement — until the end. Having developed the rhythmically “knocking” element of the main theme throughout most of the movement, that motive becomes the basis for something unusual: the music following the piano’s cadenza. Beethoven creates an intricate interplay between pianist and orchestra that continues until the conclusion of the movement. Hushed arpeggiation in the piano part provides a magical commentary over the “knocking” motive, finally heard in its purely rhythmic form in the timpani.

After the first movement, the Largo second is born of an entirely different expressive universe. Czerny supported this claim, saying that the theme “must sound like a holy, distant, and celestial harmony.” The

movement’s E major setting places it at the opposite end of the harmonic spectrum from C minor, further reinforcing its distance in character from the turmoil of the first movement. As one of the slowest movements in Beethoven’s output, it also reflects his ability to transform a simple song-form into a glorious utterance.

Although Beethoven does not literally connect the second and third movements of this concerto (as in the Fourth and Fifth), he does suggest a relationship.

The final piano chord of the second movement features a G-sharp in its top voice, a note that has no place in the overall C minor of the piece. Beethoven reminds us of this by pointedly beginning his third movement Rondo theme on a G-natural; he then justifies the previous emphasis on G-sharp by renaming it A-flat, and prominently featuring it in the main theme of the movement.

As in the first movement, the jaunty Rondo finale is capped off by a surprise. After a brief cadenza (one which concludes with a scalar motive that recalls the transition to the finale of the First Symphony), Beethoven unexpectedly dives into a C-major coda set in a giddy 6/8 meter.

The theme is adjusted to allow the high spirits full rein, and the movement closes by disposing of the dark C minor mood, but maintaining motivic integrity — in true Beethovenian style.

— Liam Viney

Notes on the Program

Joseph Haydn » 1732–1809 Symphony No. 94 in G major, “Surprise” Spoiler alert: the appended nickname of his Symphony No. 94 was in fact the effect intended by Haydn at the piece’s London premiere in March of 1792. The composer apparently inserted the epithetic moment right before the premiere with the intent of “surprising the public with something new.” Haydn supposedly joked, when asked about it, that he hoped to “make the ladies jump.”

While the surprise in question takes place in the second movement, the first movement is full of magically unpredictable moments: a slow introduction gives way to a boisterous and unrestrained allegro. Playful chromatic quirks in this first theme allow the music to twist and turn harmonically. This results in a particularly critical orchestral innovation: Haydn’s Symphony No. 94 is the first recorded instance of a timpanist in an orchestra having to retune one of his drums in the middle of a movement.

The second movement, a theme and variations, begins with a delicate and seemingly innocent tune and accompaniment. But Haydn takes care not to lull his listener into too much repose: a sudden loud chord seems to exclaim, “Wake up!

We’re only just beginning!”

The four variations that follow are beautiful displays of the affectual range contained within the movement’s unpretentious theme. The final variation, a jovial march, is echoed by a hushed reharmonization of the theme. The minuet is a fast but sophisticated dance evoking the grandeur of

the court, but its partnered trio is ushered in by horn calls and a gentle pastoral theme that suggest the countryside. The lively sonata-rondo finale returns with force to the brilliance and virtuosity of the first movement.

— Katherine Balch

Artist Profiles

Heejung Park, conducting fellow

Evanna Chiew, mezzo-soprano

Originally from South Korea, Heejung Park is a dynamic rising conductor. Mr. Park began his study of music at the age of 26, leaving his career as a mathematician behind in 2004. He studied conducting at the Korean National University of the Arts, where he received his Bachelor of Music degree cum laude. He earned his Master’s degree from the Sibelius Academy under the tutelage of Leif Segerstam and Jorma Panula. Heejung has a special affinity for contemporary music, which he attributes to the combination of his mathematical training and warm-hearted humanity in music. He is also a promising composer.

A versatile performer, Canadian mezzosoprano Evanna Chiew is at home on both the operatic and concert stage.

Highlights of her 2015–2016 season include chamber and art song recitals in Sweden, France, and the United States, as well as singing Hermia in A Midsummer Night’s Dream with Yale Opera and Nora in Riders to the Sea at the Beethoven Easter Festival in Poland.

His work as a guest conductor includes engagements across North and South America, Europe, and Asia. He has guest conducted numerous professional orchestras such as the Turku Philharmonic Orchestra, Joensuu City Orchestra, Tapiola Sinfonietta, and NYKY Ensemble in Finland; the Orquesta Sinfonica de Xalapa in Mexico; and the Suwon City Orchestra and Kwacheon Philharmonic Orchestra in Korea. He was the founding conductor of the Dyne Classical Orchestra and Theatre, which focused specifically on ballet and theatre. Currently, he is a second-year Artist Diploma student at the Yale School of Music, where he is also the assistant conductor of the Yale Philharmonia. In addition, he is the music director of the New Haven Chamber Orchestra and an assistant conductor of Symphony S.O.N.G. in South Korea. His current teachers include Shinik Hahm and William Boughton.

Ms. Chiew began her operatic career as the Abbess in Suor Angelica with the University of British Columbia Opera Ensemble, with which she has since performed numerous other roles such as Prince Charming (Cendrillon), Nancy (Albert Herring), Elizabeth Proctor (The Crucible), and Dorabella (Così fan tutte).

With Yale Opera, she has sung Angelina (La Cenerentola), Cherubino (Le Nozze di Figaro), Nora (Riders to the Sea), and Hermia (A Midsummer Night’s Dream).

She was a soloist in Dvořák’s Stabat Mater, Mozart’s Great Mass in C minor, Vaughan Williams’ Serenade to Music (UBC Symphony Orchestra), Handel’s Messiah (Vancouver Bach Choir), and Bach’s Magnificat (Vancouver Oratorio Society). Recently, she made her Carnegie Hall debut under the auspices of Yale University, performing Sibelius and Mahler songs.

Ms. Chiew is a twice-named fellow at the Toronto Summer Music Academy, specializing in art song, and a protégée of the Chamber Music Northwest Festival, where she sang with such artists as Paul Neubauer, Tara Helen O’Connor, and

Artist Profiles

David Shifrin. She is a two-time recipient of both the Johann Strauss Foundation Scholarship and the Vancouver Women’s Musical Society Bursary, and has been awarded a BC Arts Council Scholarship.

She was a semi-finalist at the Belvedere International Singing Competition, as well as a finalist at the Metropolitan Opera National Council district auditions in 2015.

Next summer, Ms. Chiew will apprentice at Santa Fe Opera, covering the role of Stéphano in Gounod’s Roméo et Juliette.

She holds a Bachelor of Music degree from the University of British Columbia and a Master of Music degree from Yale University. Currently, she is one of two candidates selected from an international pool of applicants across all instruments in the Yale School of Music’s prestigious Artist Diploma program, where she studies under Doris Yarick-Cross.

Wai Yin Wong, piano Born in Hong Kong, Wai Yin began piano lessons at the age of five at the Hong Kong Academy for Performing Arts. She received her Bachelor of Music degree from the Academy in 2013 and went on to pursue her master’s degree with a full scholarship at the Peabody Institute of Johns Hopkins University under Boris Slutsky.

Wai Yin has been the recipient of many international awards, including first prize in the Southern Highlands International Piano Competition in Australia, second prize in the 17 th Hilton Head International Piano Competition, and the Gold Medal in the 7 th International Competition for Young Pianists in Memory of Vladimir Horowitz in Ukraine. She has given recitals across the world, in cities including Brisbane, Canberra, Paris, Cairo, New York, Washington, D.C., Chicago, and Taiwan. A Young Steinway Artist, she is currently an Artist Diploma candidate at the Yale School of Music, studying with Boris Berman.

Philharmonia Orchestra of Yale

violin 1 Marianne Di Tomaso David Loke Kai-Yuan Celia Zhang Yena Lee Inyoung Hwang Jing Yang Ludomil Wojtkowski Jiazhi Wang violin 2 Benjamin Hoffman Diomedes B. Saraza Jr. Michael Duffett Ye Hyung Chung Jinyou Lee Dae Hee Ahn Ethan Hoppe viola Daniel Stone Yang Li Danielle Wiebe Hee-Sun Yang Julia Clancy cello Jiyoung Choi Pall Kalmansson Mingyao Zhao Yeji Yoo Jenny Kwak bass Lee Starovich Levi Jones Joshua DePoint Samuel Suggs flute Felice Doynov 1, 2 Andrew Robson 3

oboe Lydia Consilvio 2 Ron Cohen Mann Timothy Feil Ross Garton Michelle Nguyen 3 Winona V.R. Van Alstyne 1

principal conductor Peter Oundjian

clarinet Eric Braley 1 Graeme Steele Johnson 2

assistant manager Roberta Senatore

bassoon Francisco Joubert Bernard 1 Cornelia Sommer 2, 3 horn Sarah Boxmeyer 1 Chuta Chulavalaivong Matthew Gray Cody Halquist 3 Valerie Sly 2 trumpet Nozomi Imamura 1 Andrew Stadler 2 Daniel Venora 3 percussion Kramer Milan Se Um harp Shin Young Yu 1 1 - Principal on Lieberson 2 - Principal on Beethoven 3 - Principal on Haydn

philharmonia staff manager Andrew W. Parker

assistant conductor Heejung Park philharmonia assistants Andrew Robson Valerie Sly music librarians Bora Kim Yefim Romanov Valerie Sly stage crew Eric Braley Maria Chlebus Lydia Consilvio Julia Dina Reese Farnell Christopher Garwood Nozomi Imamura Matthew Keown John Kossler Richard Liverano NoĂŤl Wan Se Um

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Upcoming Concerts

Yale Philharmonia Shostakovich and Tchaikovsky april 1 Woolsey Hall | Friday | 7:30 pm Peter Oundjian, principal conductor Tchaikovsky: Piano Concerto No. 1 in B-flat minor, Op. 23 With Sun-A Park, piano * Shostakovich: Symphony No. 8 Concert tickets start at $10 • Students from $5 Yale employees from $8 $3 surcharge at the door

Concerto Competition april 9 Morse Recital Hall | Saturday | 9 am–4 pm Graduate students in performance compete for the opportunity to perform with the Yale Philharmonia in the 2016–2017 season Free admission

The Planets april 29 Woolsey Hall | Friday | 7:30 pm Peter Oundjian, principal conductor Mozart: Symphony No. 41 in C major, “Jupiter” Holst: The Planets Concert tickets start at $10 • Students from $5 Yale employees from $8 $3 surcharge at the door

* Winner of the Woolsey Hall Concerto Competition

Upcoming Events

Tribute to Ezra Laderman

Alexei Lubimov, fortepiano

march 2 Special Events Morse Recital Hall | Wednesday | 7:30 pm Faculty, students, and alumni perform selections of Laderman’s compositions Free admission

march 6 Collection of Musical Instruments 15 Hillhouse Ave | Sunday | 3:00 pm Music by Haydn, Mozart, Liszt, and Debussy Tickets $25 • Students $10 Seniors & Yale employees $20

Vista: Chamber Music & Commentary

Lunchtime Chamber Music

march 3 YSM Student Ensembles Morse Recital Hall | Thursday | 7:30 pm Music by Mozart, Taffanel, and Stravinsky Wendy Sharp, director Free admission

march 9 YSM Student Ensembles Yale Art Gallery | Wednesday | 12:30 pm Wendy Sharp, director Free admission

Piano Jazz Summit march 4 Ellington Jazz Series Morse Recital Hall | Friday | 7:30 pm Featuring three jazz keyboard legends: Barry Harris, Toshiko Akiyoshi, and Aaron Diehl Tickets start at $20 • Students $10

Kyung Yu, violin march 5 Faculty Artist Series Morse Recital Hall | Saturday | 7:30 pm With Melissa Rose, piano Music by Mozart, Brahms, and Ravel Free admission

Robert Blocker, piano march 9 Horowitz Piano Series Morse Recital Hall | Wednesday | 7:30 pm Music by Mozart, Ravel, and Bach-Busoni, with new pieces by Yale composers including David Lang, Hannah Lash, and Christopher Theofanidis Tickets start at $13, Students $7

Music by Jack Vees and Christopher Theofanidis march 11 New Music New Haven Morse Recital Hall | Thursday | 7:30 pm Featuring music by Theofanidis and Vees Free admission

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