Yale Philharmonia with David Robertson, guest conductor, October 13, 2017

the philharmonia orchestra of yale peter oundjian principal conductor

david robertson guest conductor

Friday, October 13, 2017 • 7:30 pm Woolsey Hall

christopher rouse Rapture (2000) william walton Violin Concerto (1939) I. Andante tranquillo II. Presto capriccioso alla napolitana III. Vivace Laura Park, violin

intermission richard str auss Ein Heldenleben, Op. 40

Robert Blocker, Dean

As a courtesy to others, please silence all cell phones and devices. Photography and recording of any kind is strictly prohibited. Please do not leave the hall during musical selections. Thank you.

P ro g ra m N otes

Christopher Rouse » b. 1949 Rapture (2000)

transformed state, the tranquil atmosphere from the beginning now a distant memory.

—Jonathan Salamon

Born in Baltimore in 1949, Christopher Rouse is one of America’s most distinguished comp- William Walton » 1902–1983 osers, writing vivid, at times even fiery music Violin Concerto (1939; revised 1943) of deep emotional intensity, from the melancholic to the exuberant.

William Walton was born into a musical family, in Lancashire, England. As a youngster, he A former professor of composition at the was a chorister in the famous Christ Church Eastman School of Music, Rouse is currently Cathedral at Oxford and later attended Christ on the faculty at The Juilliard School and Church College at Oxford University. He was studied composition at Oberlin Conservatory largely self-taught as a composer, though he and Cornell University, counting George received tutelage from his music professors Crumb and the late Karel Husa among his men- at Oxford. tors. His many accolades include the Pulitzer Prize in 1993 for his Trombone Concerto, writ- While Walton’s earlier works were considered ten in memory of Leonard Bernstein and avant-garde, often incorporating dissonance commissioned by the New York Philharmonic and jazz harmonies (quite radical for the 1920s for its 150th anniversary, and the Grammy and ’30s), he soon developed the mature and Award in 2002 for his guitar concerto Concert distinctive voice that characterizes his Violin de Gaudí. Rouse was elected to the American Concerto of 1939—a voice combining the Academy of Arts and Letters in 2002. rhythmic drive of Stravinsky and Prokofiev with the romantic language of his English Rapture, completed in 2000 and commissioned predecessor Edward Elgar. by the Pittsburgh Symphony Orchestra, is an exhilarating orchestral work that transports the The Violin Concerto was written for the great listener to an ever-expanding, ecstatic realm. virtuoso Jascha Heifetz and was premiered by the Cleveland Orchestra, conducted by Rouse remarks that, “the title of this score is Artur Rodzinski. Cast in three distinct movenot ‘The Rapture;’ the piece is not connected ments, the work opens solemnly, with low to any specific religious source.” The title is clarinets giving way to a romantic and powinstead meant to convey, “a sense of erful melody performed by the solo violin. spiritual bliss, religious or otherwise.”

The movement slowly grows in intensity until finally the solo violin is overwhelmed by a The music contains only transitory states of powerful and emotional orchestral tutti. dissonance, representing the engulfing bliss, and unfolds with a gripping rhythmic dyna- The second movement, “Presto capriccioso mism. A hushed pulsation begins the piece, alla napolitana” (lively and capricious, in the sedate yet anticipatory of potential energy.

Neapolitan style) is as light and careless as the Contemplative and harmonious brass first movement is solemn and lyrical. The sonorities follow, becoming increasingly movement features tarantella-like rhythms impassioned. An oboe enters high above that punctuate the opening section. A central with a sweeping tuneful melody; a single slower section briefly interrupts the quick flute takes over with shimmering passages pace, but soon enough the lively motion rethat are echoed by the other flutes, the first turns in the solo violin and orchestra and the of many frenetic episodes. Insistent rhythmic movement is brought to a raucous climax patterns are tossed about and varied among before drawing to a quiet, if pensive, close. the instrument groups, generating a lush texture of tumultuous excitement. The tempo The third movement, Vivace (lively), opens increases progressively throughout the work, with a sprightly melody in the cellos and basses. mirroring a state of mounting euphoria that Quickly the violin enters. There are no grand reaches an electrifying climax at the end: the statements to introduce the violin: it enters enraptured listener has entered a completely gently and jovially. But it soon begins to sing a gentle melody that floats over the orchestra.

Throughout the movement, at turns grand and tender, the violin leads the orchestra, bring-

art ist p ro f i le s

ing together the lyricism of the opening movement with the energy of the second. The movement’s close is regal, wild, and intense.

The manuscript of this work resides in the Frederick R. Koch Collection at Yale’s Beinecke Rare Book & Manuscript Library.

—Christopher Cerrone Richard Strauss » 1864–1949 Ein Heldenleben, Op. 40

The Hero’s Adversaries appear next in the woodwind parts, which are marked “very sharp and pointed” and “snarling.” First the flute, then the oboe, English horn, and clarinets mock the Hero. The Hero’s theme is heard suffering under the attack, appearing in the low reeds and basses in the minor mode, and lacking in energy, as if resigned to the assault.

The attackers regroup and begin again, and this time the Hero’s theme returns with renewed vitality. Here, the music is interrupted by a solo violin holding a high C sharp, which introduces the theme of the Hero’s Companion.

In 1898, 34-year old Richard Strauss had already become a well-respected conductor and composer whose recent premieres had been met with critical success. One noted exception, Strauss described his wife Pauline as “a very however, was his first attempt at an opera, complicated subject” to portray, as she was Guntram (1894), which was a decided flop. He “different each minute from what she was a was happily, if not placidly, married to Pauline minute earlier.” As a result, this violin solo de Ahna, an accomplished soprano whom he that portrays her is impulsive and capricious, described as “the spice that keeps me going.” marked at various points with such In light of all this, Strauss decided it was time performance indications as “hypocritically to pen a musical autobiography of sorts, a languishing,” “frivolously,” “tenderly, somecompanion piece to Don Quixote that would what sentimentally,” “in high spirits,” “very be his generation’s heroic offering. Tentatively sharply,” “playfully,” “amiably,” “suddenly titled Held und Welt, or The Hero and the World, calm again and very affectionate,” and “fast Ein Heldenleben, or A Hero’s Life, was and naggingly.” Enticingly and caressingly, completed in 1898, and was premiered in the Hero’s Companion moves through these Frankfurt, with the composer conducting, moods to a seductive display of emotion as on March 3, 1899. the Hero and the Companion are united in a passionate duet.

To tell his tale of epic bravery, Strauss utilizes an orchestra of epic forces. Tone poem though As the music gently begins to relax, the lovers it is, the massive work can be organized into are interrupted by a resurfacing of the pointed an expansive sonata form. Though the com- barbs of the Hero’s Adversaries. Offstage poser initially insisted that Ein Heldenleben trumpets call the Hero to battle, and he takes has no formal storyline, the single-movement leave of his Companion, taking their theme work has been traditionally partitioned into with him into the conflict. A martial rhythm six distinct episodes: “The Hero,” “The in the percussion and strings signify the Adversaries of the Hero,” “The Companion battlefield, and the motives of the Adversaries of the Hero,” “The Battlefield of the Hero,” and the Hero are heard struggling against each “The Peace-works of the Hero,” and “The other for dominance. In the end, the Hero’s Worldthemes triumph and grow into a celebration flight and Consummation of the Hero.” of victory, with soaring horns and jubilant brass declaring the Hero’s success. Strauss The tone poem opens in the same key as includes direct quotes from Don Juan to Beethoven’s “Eroica” Symphony, which was cement the finality of his conquest. once dedicated to Napoleon, with a unison statement of the Hero’s theme in the cellos, Strauss makes further use of his own previous violas, and horns, and growing out of an compositions to portray the Hero’s works of E-flat major arpeggio. It is a statement rich peace. Motives and melodies from Don Juan, in bravado, a clear depiction of the swaggering Also Sprach Zarathustra, Death and Hero. This theme is followed by several new Transfiguration, Don Quixote, Macbeth, Till themes introduced by the upper strings and Eulenspiegel, and even the failed Guntram all woodwinds, which intertwine to depict appear as the Hero reflects on his accompfurther dimensions of the Hero’s character. lishments. It is as if by including Guntram Strauss combines all these themes into an expansive, contrapuntal portrait of the Hero.

a rti p rofiles P ro gst ra m N otes /Artist Profiles

perhaps, within himself, as he contemplates his battles and successes. The music finally melts into acquiescence with the Hero’s theme, which has transformed into a peaceful, pastoral English horn solo. The idyllic world is maintained through a sweeping string melody until the jarring reappearance of the voices of the Hero’s Adversaries in the brass, which are ultimately silenced by the voice of the solo violin. It is, perhaps, the Hero’s Companion, soothing his unpleasant nightmares and walking with him (the solo horn) toward the glorious, ethereal finale.

—Katherine Wilcox

Orli Shaham and has four children.

Laura Park, violin

Laura Park, praised for showing “extraordinary maturity, interpretive insight, passion, [and] nuance” (Chicagoclassicalmusic.org), has been featured as a soloist with such notable ensembles as the Houston Symphony Orchestra, Cleveland Orchestra, Chautauqua Music School Festival Orchestra, Lake Forest Symphony Orchestra, and Oistrakh Symphony Orchestra, among others. Additional career highlights include appearances with Curtis on Tour, the Dame Myra Hess Memorial Concert Series, the Millennium Stage Concert David Robertson, guest conductor Series at the Kennedy Center, NPR’s What Makes It Great, and the Young Steinway A compelling communicator and innovative Concert Series. Park has been a laureate of programmer with a vast symphonic and oper- many competitions, including the Lipizer atic repertoire, David Robertson is currently International Violin Competition, where she in his 13th season as the music director of the was recognized for “strong artistic storied St. Louis Symphony Orchestra. He temperament,” the Ima Hogg Young Artists’ also serves as chief conductor and artistic di- Competition, the Yale School of Music's rector of the Sydney Symphony Orchestra in Woolsey Hall Concerto Competition, and Australia and has previously been principal others. As an active chamber musician, Park guest conductor of the BBC Symphony has won gold medals at the Fischoff National Orchestra, music director of the Orchestra Chamber Music Competition, the St. Paul National de Lyon, and the Ensemble String Quartet Competition, and the Yale Intercontemporain in Paris. As music director School of Music's Chamber Music Competition. of the SLSO, Robertson has solidified the She has participated in many music festivals orchestra’s standing as one of the nation’s including Music from Angel Fire, the Cape most enduring and innovative. His established Cod Chamber Music Festival, the Yale Summer relationships with artists and composers is School of Music/Norfolk Chamber Music deeply rooted and is evidenced by the orches- Festival New Music Workshop, Aspen Music tra’s strong relationship with composer John Festival, Astona International Summer Adams. The SLSO's 2014 release of City Noir Academy in Switzerland, Chautauqua Music (Nonesuch Records)—comprising works by Festival, and Kennedy Center/National Adams performed by the SLSO with Symphony Orchestra National Trustees' Robertson—won the Grammy Award for Best Summer Music Institute. Park is a member Orchestral Performance. Robertson is devoted of the New Haven Symphony Orchestra and to supporting young musicians and has currently studies at the Yale School of Music worked with students at festivals in Aspen, with Ani Kavafian on a Henry and Lucy Moses Tanglewood, Lucerne, at the Paris Scholarship and Fellowship. At the Yale School Conservatoire, the Juilliard School, Music of Music, she was awarded the 2017 Broadus Academy of the West, and the National Erle Prize. She is a graduate of the Curtis Orchestra Institute. In 2014, he led the USA Institute of Music, where she studied with Coast to Coast tour of the National Youth Ida Kavafian. Her previous teachers include Orchestra of Carnegie Hall. Musical America’s Almita and Roland Vamos, Marko Dreher, Conductor of the Year in 2000, Robertson is and Injoo Choi. the recipient of numerous honorary doctorates.

He was elected a fellow of the American Academy of Arts and Sciences in 2010 and awarded the Chevalier de l’Ordres des Arts et des Lettres in 2011. He is married to pianist

A b o u t Ya l e Philharmo nia

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 Schubert Theater.

The Yale Philharmonia has also performed on numerous occasions in Carnegie Hall and Alice Tully Hall in New York City and at the John F. Kennedy Center for the Performing Arts 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.

peter oundjian Principal Conductor philharmonia staff

jeffrey m. mistri Manager samuel bobinski Assistant Manager/Librarian office assistant Kristy Tucker david yi Assistant Conductor

the philharmonia orchestra of yale violin i Ariel Horowitz Kate Arndt Clement Luu Kyungah Oh Je Young Kim Ye Jin Yoon Elliot Lee Lauren Bennett Emre Engin Dhyani Heath Andy Peng Yuqi Li

bass Jordan Calixto Kaden Henderson Amy Nickler Chin To Kelvin Ng Russell Thompson Eric Timperman

violin ii Emily Switzer Jung Eun Kang Sophia Mockler Michael Tropepe Ethan Hoppe Ji Soo Lee Maura Shawn Scanlin Yejin Min Nuri Lim Dongsoo Cha

oboe Michelle Nguyen 1 Elliot Lichtenberg Lauren White 2 Lauren Williams 3 Shawn Hutchison

viola Zsche Chuang Rimbo Wong Josip Kvetek Allie Simpson Marlea Simpson Hayaka Komatsu Julia Clancy Ye In Son Marta Lambert cello Samuel DeCaprio Eric Adamshick Valentina Cmjak Justin Park Yiqiu Chen Bitnalee Pong Jenny Kwak Ssu-Yang Yu

flute Helen Park 1 Benjamin Morency 3 Leo Sussman 2 Amir Farsi

english horn Michelle Nguyen Lauren White clarinet Graeme Johnson 1 Richard Adger Giovanni Bertoni 3 Ziqi Yue 2

horn Scott Leger 1 Esteban Garcia Luke Baker Gabriel Marison 2 Antonia Chandler Josh Thompson 3 Steven Harmon Stephen Newberry Leah Meyer trumpet Theo Van Dyck 1 3 Jonathan Shadle Oscar Mason Eric Rizzo Chloe Swindler 2 trombone Ingram Lee 1 William Wortley 2 Hillary Simms Grant Futch 3 euphonium Ingram Lee bass trombone Zachary Haas Daniel Vaitkus

bass clarinet Elisha Willinger

tuba Jacob Fewx

e-flat clarinet Michael Moy

timpani Shiqi Zhong 1 Sam Um YoungKyoung Lee 2 Matt Keown 3

bassoon Mingyuan Yang 1 Dana Brink 2 Patrick Broder Ethan Lippert 3 Dillon Meacham contrabassoon Kristy Tucker

percussion Dmitri Nilov 1 YoungKyoung Lee Matt Keown 2 Sam Um 3 Shiqi Zhong

harp Anna Ellsworth Margaret Davis 3 Principal on Rouse Principal on Walton 3 Principal on Strauss 1

2

music librarians Antonia Chandler Bora Kim Marta Lambert Gregory Lewis Laura Park Lauren Williams Leonardo Ziporyn stage crew Jisu Jung Matt Keown YoungKyong Lee Aaron Israel Levin Gabriel Mairson Dmitrii Nilov Lucas Oliveira Tanner Porter Hillary Simms Sam Seyong Um Daniel Vaitkus Rimbo Wong

Up co ming Event s OCT 15

OCT 17

NOV 3&4

WENDY SHARP, violin Faculty Artist Series Violinist Wendy Sharp, the School’s director of chamber music, performs music by Prokofiev, Tchaikovsky, Paganini, Corigliano, Schubert, and YSM faculty composer Christopher Theofanidis.

Morse Recital Hall | Sunday | 3 pm Free Admission CENTRAL CONSERVATORY OF MUSIC YSM Special Guests Students from the Central Conservatory in Beijing perform opera selections with piano accompaniment Morse Recital Hall | Tuesday | 7:30 pm Free Admission FALL OPERA SCENES Yale Opera Scenes from Mozart's Die Zauberflöte, Heggie's Dead Man Walking, Massenet's Cendrillon, Puccini's La Bohème, Humperdinck's Hansel und Gretel, Donizetti's Lucrezia Borgia, Mozart's Don Giovanni, and Strauss' Ariadne auf Naxos Morse Recital Hall | Friday & Saturday | 7:30 pm Tickets Start at $10, Students $5

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