Skokie Valley Symphony - Playing with the Stars by Footlights.com

Pasquale Laurino, Guest Conductor

Sunday, November 24, 2013 3:00 PM North Shore Center for the Performing Arts in Skokie

Playing with the Stars Nabucco Overture................................................................................................................Giuseppe Verdi (1813-1901) SVSO and Niles West High School Orchestra Piano Concerto No. 1 in B flat minor, Op. 23.............................................. Pyotr Ilyich Tchaikovsky Allegro con fuoco (1840-1893) Lauren Tu, pianist Second Place Winner of the Skokie Valley Symphony Young Artist Competition, 2013

INTERMISSION Piano Concerto No. 1 in E minor, Op. 11 ................................................................. Frederick Chopin Allegro maestoso (1898-1937) Romanze – Larghetto Rondo - Vivace Will Sievern, pianist First Place Winner of the Skokie Valley Symphony Young Artist Competition, 2013

Variations on a Theme by Haydn, Op. 56a..............................................................Johannes Brahms Thema. Chorale St. Antoni. Andante (1875-1901) Variation I Poco più animato Variation II Più vivace Variation III Con moto Variation IV Andante con moto Variation V Vivace Variation VI Vivace Variation VII Grazioso Variation VIII Presto non troppo Finale, Andante The Skokie Valley Symphony Orchestra gratefully acknowledges the Village of Skokie, Niles Township; the Daniel F. and Ada L. Rice Foundation for the sponsorship of the Young Artists Competition and this concert; the November 25th Free Childrens’ Concert is sponsored by the Rice Youth Fund administered by the NSCPA. Playing With the Stars

PROGR A M NOTES Giuseppi Verdi – Nabucco Overture Giuseppe Verdi, like many of his artistic contemporaries, found himself caught up in the burgeoning nationalistic fervor sweeping Italy during the mid 19th century. A strong patriot, Verdi was an ardent supporter of the Risorgimento – a movement that not only aimed to unite Italy under one flag free of foreign influence but also sought a renewal of Italian culture. His operas of the period beginning around 1840 are filled with nationalistic references and often deal with the theme of suppression. The first such work was Nabucco. Premiered in 1842 at La Scala, Nabucco tells the biblical story of the enslavement and eventual exile of the Jews under the Babylonian King Nebuchadnezzar. Despite the dark subject matter, the opera is filled with memorable melodies, none more so than the Act III chorus, “Va pensiero,” in which the Hebrew slaves sing longingly of their lost homeland. Over the course of the 19th century the tune came to be a popular anthem of the Risorgimento and helped to make Verdi an unlikely symbolic leader of the movement. In fact, to show their affection and gratitude towards the composer, his countrymen elected him to Italy’s first parliament. The Overture to Nabucco is, in typical Verdi fashion, a veritable potpourri of themes, most of which appear in the opera itself. After a majestic opening statement and a rather sinister tune which suggests the unfortunate circumstances of the plot, Verdi introduces “Va pensiero” for the first time. He then quickly brings forth a number of themes associated with the Hebrew slaves and their Babylonian captors, thus setting up the central conflict of the opera. A rousing conclusion serves as an appropriate curtain-raiser for this, Verdi’s first successful operatic work.

Pyotr Ilyich Tchaikovsky – Piano Concerto #1 Tchaikovsky was an established composer and teacher when, in 1874, he made his first attempt at writing a piano concerto. He found the task to be a difficult one and later remarked that the piece proved to be one of the greatest challenges of his life. When work was complete he dedicated the concerto to the eminent pianist Nikolia Rubenstein and took it to him for review and approval. “Not being a pianist myself I considered it necessary to consult a virtuoso as to any point in my concerto that might be technically impractical, awkward or ineffective.” In a private hearing on Christmas Eve, Rubenstein criticized the work severely: “It is worthless and unplayable…bad, trivial, vulgar. Only one or two pages have value.” Tchaikovsky said, “I left the room without a word and went upstairs. Soon afterward Rubenstein came up to me and seeing how upset I was, called me into another room. There he repeated that my concerto was impossible and pointed to several places that required a thorough revision, adding that if these alterations were completed within a certain time, he would play my work in public.” An incensed Tchaikovsky refused. Soon thereafter he removed Rubenstein’s name from the title page and re-dedicated the work to the prominent pianist and conductor Hans von Bülow. Bülow gladly accepted the dedication and wrote a letter of praise to Tchaikovsky as soon as he received the score: “I would weary you if I were to enumerate all the characteristics of your work, characteristics which compel me to congratulate equally the composer and those who are destined to enjoy it.” Von Bülow had been planning an American tour for the fall of 1875 and offered to perform the concerto’s premiere while abroad. The first performance was held in Boston, followed closely by a performance in New York City. Audiences immediately loved the work though critics were not so universal in their praise. One called it “an extremely difficult, strange, wild, ultra-modern Russian concerto.” Nonetheless, the work achieved a fame that has lasted until the present day. In time, even Rubenstein was persuaded to recant his earlier comments and went so far as to perform the work on his own concerts. Skokie Valley Symphony

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The third movement was particularly popular with contemporary audiences and often had to be encored during von Bülow’s performances. Marked con fuoco (with fire), the movement has the feel of a Ukrainian folk dance and is likely based on music Tchaikovsky heard on his travels through that region. The energetic main theme is introduced by the piano before being taken up by the full orchestra, which reinforces its peasant-like quality. The revelry is interrupted by a graceful countersubject in the strings. Bearing Tchaikovsky’s unique melodic stamp, the tune calls to mind the composer’s romanticallytinged themes from Romeo and Juliet, Swan Lake, and Sleeping Beauty. These two ideas are then heard alternately and though the material is constantly varied, a classical rondo pattern – ABABA – is unmistakable. The dance tune is heard one final time. Brilliant passage work from the soloist combined with the participation of the full orchestra creates a dramatic conclusion to this hallmark of the concerto repertory. Frederick Chopin – Piano Concerto #1 Chopin was barely twenty years old when he composed his two piano concertos. Having recently graduated from the Warsaw Conservatory, the young pianist/composer – already a rising star in his native Poland - was about to embark upon a tour of European capitals and, likely, intended the works to serve as the centerpieces of his upcoming concerts. Prior to his departure, in 1831, he performed the first concerto at a farewell concert in Warsaw where it was greeted with “deafening applause” according to the composer himself. It was quickly taken up by other pianists, including Clara WieckSchumann, and helped to cement his fame as the “poet of the piano.” Despite the early success of the concertos, Chopin never again essayed such largescale works and came to be known, instead, as a master of smaller, more intimate

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forms like the nocturne, waltz, prelude, and ballade. This came to be viewed by some as evidence that the composer was uncomfortable or insecure in handling large works and, in time, the concertos were dismissed as anomalies; youthful works of little importance. While it is true Chopin’s concertos may fall short of the standards set by Mozart and Beethoven, such comparisons are altogether unfair. While Chopin may have been aware of these works, his more direct models would have been the concertos of Hummel, Field and Weber, in which keyboard virtuosity was of far greater importance than the formal considerations, balance, and symmetry so highly prized by the classical practitioners. Chopin’s own talents as an extraordinarily talented pianist also undoubtedly influenced his handling of the form, in which he relegates the orchestra to a secondary role as accompanist to the all-important soloist. However, he never abandons good taste; the writing never dissolves into pure virtuosity for the sake of showmanship, but always retains an element of restraint and, more importantly, melodic intent. The First Piano Concerto begins with an extended orchestral introduction that seems to hint at a Classical first movement in which orchestra and soloist engage in a dialogue but it is merely a nod to convention. Once the orchestra has introduced the main thematic material, the piano enters and completely dominates the proceedings. The bold themes of the orchestra and initial piano statement soon give way to a more melodic, song-like melody that exhibits Chopin’s unmatched gift for lyricism. The orchestra provides unobtrusive support, allowing us to fully appreciate the composer’s deft handling of the solo material through striking harmonic shifts, subtle embellishments, and wonderful effects that show his complete mastery of the piano. Perhaps no other composer so fully understood the instrument and how to best exploit its capabilities.

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The tender middle movement is, again, marked by Chopin’s unique lyricism. A melody of quiet beauty and improvisatory freedom floats effortlessly above a lush orchestral cushion. Chopin wrote that this movement is “intended to convey the impression one receives when the eye rests on a beloved landscape that calls up in one’s soul beautiful memories – for instance on a fine moonlit spring night.” Following a bold orchestral statement, the piano introduces the main theme of the Rondo Finale. Marked “scherzando”, this theme is rhythmically related to the Krakowiak, a Polish dance in duple time characterized by syncopations. This lively main theme is contrasted by a second, more serene melody. One review of the work’s premiere in the Polish capital ventured: “More than once these tones seem to be the happy echo of our native harmony. Chopin knows what sounds are heard in our fields and woods, he has listened to the songs of the Polish villager, he has made it his own.” After a final return of the main dance-based theme, a brisk coda featuring brilliant piano writing, brings the concerto to a rousing finish. Johannes Brahms – Variations on a Theme by Haydn Johannes Brahms was a devoted scholar of the past. Unlike most of his contemporaries, he was familiar with and intensely interested in the great works of art from earlier generations, and even saw himself as the inheritor of the long, distinguished Germanic musical tradition. He must have been delighted, then, when, in 1833, he was presented with a group of pieces for wind band composed by Haydn. He was particularly impressed by the melody of one of these works which Haydn had titled “Chorale St. Antoni.” Recent scholarship has proven that this theme was, in fact, not by Haydn, but probably by his student Ignaz Pleyel. And even Pleyel hadn’t written the tune itself but probably based it on a pilgrims’ hymn from an earlier era. Nonetheless, Brahms thought the tune was by Haydn and, when moved to create his own composition based on the same tune, titled it Variations on a Theme by Haydn. He initially wrote the new work as a two-piano piece for himself and Clara Schumann. An orchestral version soon followed. The form of the composition – theme and variations – again shows Brahms’s link to the past. Theme and variations was one of the most important and popular of Classical forms, though it was rarely, if ever, used by Romantic composers who, perhaps, viewed its strictures as too limiting. Brahms, however, was drawn to the old-fashioned structure and composed several works in the form. Brahms scholar Karl Geiringer wrote that the composer’s “imagination rose to the greatest height when under the constraint of the strictest laws.” The Variations on a Theme by Haydn is comprised of the main theme – the aforementioned “St. Antoni Chorale” – and eight variations, capped by a concluding finale. Each variation is unique and differs in mood from the simple, hymn-like theme. Most astonishing is how Brahms disguises the original melody in the subsequent variations. Several of them sound completely new and far removed from the original theme but, closer examination reveals that each variation retains the same bi-partite structure of the theme, its underlying harmonies, and basic phrase structure. For example, Variation ll is based upon the rhythm (long-short-short) of the theme and its regular phrasing, while in Variation lll the original theme is transformed into a new legato melody while only the harmonies remain the same. After playing hide-and-seek through the eight variations, the St. Antoni theme finally emerges in the Finale as a majestic fullorchestra statement. Program notes by Michael Vaughn 2013. No reproduction of notes permitted without author’s consent. Playing With the Stars

PA S Q UA L E L AU R I N O, G U E S T C O N D U C TO R Pasquale Laurino enjoys a multi-faceted career as a conductor, violinist, educator, clinician and entrepreneur. Maestro Laurino is the associate conductor and concertmaster of the Milwaukee Ballet and the artistic director and conductor of the Racine Symphony Orchestra. His sold-out pops concerts at Racine Festival Hall and his classical programs, with emphasis on community outreach and education, have excited and entertained audiences both old and new Born in Brooklyn, N.Y., he trained as a violinist and conductor at the University of Wisconsin-Madison and Indiana University. His principal teachers were Thomas Moore and Franco Gulli. It was in his capacity as concertmaster of the Milwaukee Opera Company that he was asked to conduct his first opera, I Pagliacci. This “trial by fire” led to an invitation to conduct the popular Music Under the Stars series in Milwaukee As a guest conductor, Mr. Laurino’s appearances include the Chicago Chamber Orchestra, the Elmhurst Choral Union, L’Opera Piccola, Light Opera Works, the Waukesha (Wisconsin Philharmonic) Symphony, the Sheboygan Symphony, the Skokie Valley Symphony and the Skylight Opera Theatre. Maestro Laurino’s artistic home for over two decades has been the Skylight Opera Theatre where he has conducted everything from bel canto masterworks to light opera and musicals. In 2002, he appeared on PBS to conduct and provide commentary to Copland’s Tenderland. In 2011 he completed a critically acclaimed run of performances of a new musical, A Minister’s Wife, produced at Lincoln Center in New York City and he recorded the cast album on the PS Classics label. Recently, he conducted the world premiere of Michael Pink’s Peter Pan, which will be telecast nationally on PBS this spring. Long committed to music pedagogy, he has been on the faculty of Carroll College, the Wisconsin Conservatory of Music, and the University of WI-Fox Valley as conductor, violin/viola teacher and as a chamber music Family of Dealerships coach. In 2005, he joined the faculty of the Rocky Ridge Music Festival as conductor and violinist. Mr. Laurino has served as CHEVROLET concertmaster for the Northwest Indiana FORD in Glenview in Park Ridge Symphony, DuPage Opera and the Chicago 2038 N. Waukegan Rd. 1401 W. Dempster St. . . 847 510 5598 847. 655.1498 Chamber Orchestra. In Europe, he has been as concertmaster of the International Orchestra of Italy, including the Macerata Opera and Festivale della Valle d’Itria. in Park Ridge in Glenview In addition to his conducting and 1301 W. Dempster St. 2000 N. Waukegan Rd. 847. 655.1448 847.510.5548 educational activities, he plays baroque violin in Chicago for Ars Antiqua, Baroque ss Band and Haydn on the Lake. sine

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Skokie Valley Symphony

N I L E S W E S T H S O R C H E S T R A , S T E V E N K AT Z , O R C H E S T R A D I R E C TO R Niles West High School has a long history of excellence in music and fine arts. The orchestra program consists of the Concert, Philharmonic and Symphonic Orchestras. Over 190 students are members of the various orchestras. All members of the advanced Symphonic and Philharmonic orchestras participate in solo and chamber music recitals. Orchestra members also participate in the Niles West Orchestra Concerto Competition, IMEA District and All State Orchestras and at the Northwestern University Solo and Ensemble Contest. Alumni from Niles West perform with the Chicago Symphony Orchestra and in the Lyric Opera Orchestra. Our students have continued their musical education at many prestigious institutions including Indiana University, University of Illinois, University of Miami, Juilliard, Cleveland Institute of Music, Mannes College of Music, DePaul University and Northwestern University. The Orchestra has toured throughout the United States and has taken three performance tours to Europe. Niles West and North High Schools also received the Kennedy Center Award for Excellence in Music Education in 2007, the first public high schools in the country to win that award. Steven Katz grew up in Skokie and has been the orchestra director at Niles West High School in Skokie for the past 25 years where he teaches over 200 students in three orchestras, electronic music and guitar classes. Previously, he was the orchestra director in the Batavia and Champaign school districts. He received his Bachelors and Masters degrees from the University of Illinois in Champaign/Urbana. A frequent clinician and conductor, Katz has conducted the IMEA District 7 Junior Orchestra and at the Illinois Summer Youth Music Camp at the University of Illinois and the Blue Lake Fine Arts Camp in Michigan. He has served on the Illinois American String Teachers Association board and as the orchestra vice president for the Illinois Music Educators Association District 7.

L AU R E N T U , P I A N I S T Lauren Tu, 18, of Glenview, is a graduate of Glenbrook South High School and has been a student of Sueanne Metz for over 12 years. Lauren has won numerous local competitions and received awards from the ISMTA and MTNA Senior Division competitions, the Chicago Symphony Orchestra Youth Auditions, the Walgreens National Concerto Competition, the Los Angeles International Piano Competition, the Louisiana International Piano Competition, the Chopin Youth Piano Competition, the Steinway Young Artist Competition, the Michigan Music Teachers Association Concerto Competition, the Cardinal Stritch University Piano Competition, and the ISMTA Junior High State Finals. She first performed on WFMT (98.7FM) at age 10 and was featured three years later on their show “Introductions”. Lauren also performed in the 2007-2008 Young Steinway Concert Series at the Skokie Public Library as well as in New York’s Carnegie Hall. She had the opportunity to perform with the Wheaton Symphony Orchestra in 2009 and with the Glenbrook Symphony Orchestra in 2011 as a winner of the GSO Concerto Competition. Lauren also had the honor to perform at Symphony Center in May of 2012 at the Keys to the City Piano Festival Youth Piano Showcase, hosted by Emanuel Ax. Most recently, she performed with the Harper College Symphony Orchestra as a finalist in the 2013 Emilio Del Rosario Piano Concerto Competition. Lauren is now a freshman at the University of Texas in Austin, where she is majoring in business and marketing. Playing With the Stars

WILL SIEVERN, PIANIST Will Sievern is a senior at the University of Notre Dame in South Bend, Indiana, where he is studying piano performance and premedicine. Recent successes include third prize in the 2013 American Fine Arts Festival International Concerto Competition, resulting in a solo performance at Carnegie’s Weill Hall in New York in May 2013, and first prize in Notre Dame’s 2012 concerto competition. Sievern studies with John Blacklow. S K O K I E VA L L E Y S Y M P H O N Y O R C H E S T R A 1st Violin Mark Agnor, Concertmaster Margarita Solomensky, Assistant Concertmaster Vitaly Briskin Milan Miskovic Hansuh Rhee, Mittenthal String Chair Iris Seitz Violetta Todorova Wally Pok Hon Yu 2nd Violin Michael Kleinerman, Principal Alysa Isaacson David Ratner Fran Sherman Iris Turk Gwen Weiner Viola Michael Rozental, Principal, Dr. Lee Malmed Chair Lee Malmed Rick Neff Jason Rosen

Skokie Valley Symphony

Cello Marcia Chessick Lucy Colman Bonnie Malmed Howard Miller Sheryl Nussbaum Mike Taber Tess Van Wagner Bass Doug Johnson, Principal Brett Benteler Bev Schiltz Flute Karen Frost, Principal Barb Austin Sandra Rowland Oboe Jennifer Stucki, Principal Ben Carithers

Bassoon Elizabeth Heller, Principal Jen Speer Trumpet Jordan Olive, Principal Edgar Campos

Clarinet Walter Grabner, Principal Irwin Heller

Timpani Jay Renstrom

French Horn Principal Jack Shankman Chair Erika Hollenback Ron Christoph Trombone Adina Salmahnson Thomas Park Bass Trombone John Alberts Tuba Beth Lodal

Percussion Barry Grossman Emily Saltz

NILES WEST SYMPHONIC ORCHESTR A Steven Katz Music Director and Conductor 1st Violin Summer Brunson Justirini Corpuz Ally Daskalopoulos Katherine DeLara Vinny Kabat Christina Kim Michael Kim Jessica Klier Dee Lam Susie Lee Grace Park Liam Perlstein Daniela Sandoval Kevin Shin Sidney Shin Andy Tran 2nd Violin Natalia Bafia Teddy Beck Adrianna Daskalopoulos Danalyn Garcia Aleksandra Jerinic Jennifer Joseph Terry Kim Serina Lodhia Annie Mannancheril Kathleen Park Noel Park Kristin Recinto Samantha Seo Jamie Suh David Thai Esther Yim

Viola Sareena Ali Biondina Djelovic Sydney Hamamoto Rebecca Harbeck Bao-Tran Le Marilyn Metz Mona Ng Jennifer Nguyen Miguel Paloma Grace Ryan Michael Yim Cello Rita Carmona Nicole Christodoulou Katarina Jerinic Sahar Jiwani Susan Klaisubhan Walter Lindwall Cyril Onate Carlos Ty Bass Justin Chong Andy Loathaveerungsawad Julia Nejman Jonathan Rivera Flute Maya Cabellero Katie Lezark Tracy Zawrazky

Oboe Emily Stangel Gretchen Sterba Clarinet Gabby Guerra Smita Jain Bassoon Cameron Broderick Sabrina Cadena French Horn Amelia Banini Allison Salter Trumpet Darius Ardalean Jesse Sacks Matt Small Trombone Kevin Jaris Paul Kandzicks John Wengerski Tuba Brad Erickson Percussion Nick Brummit Sarah Chamness Sung Kim

C H A I R E N D OWM E N T A N D S P O N S O R S H I P S Kathryn J. Canny, Chair Endowment – Concertmaster Chair The Leo Krakow Community Endowment Fund – Concert Elizabeth and E. Harris Krawitz Endowment – Concert Harvey E. Mittenthal Scholarship Fund – Mittenthal String Chair Daniel F. and Ada L. Rice Foundation Charles and Cyd Sandleman Chair Endowment – Assistant Concertmaster Chair Playing With the Stars

2 013 - 2 014 S V S O D O N AT I O N S Sustaining: $2500+ Kathryn J. Canny Dr. Lee & Bonnie Malmed Niles Township Daniel F. and Ada L. Rice Foundation Rice Foundation Special Fund Village of Skokie Benefactor: 1,000 - $2,499 Steven J. Blutza, Ph.D. Patron: $500 - $999 Esther Sabbah Korn Ruth Sharps Robin M. Wolf & Clifford R. Wolf M.D. Sponsors: $250 - $499 John Alberts Mark Barats Carol & Roger Hirsch Richard A. Mittenthal Thomas E. Rice

Donors: $100 - $249 Phyllis Adams Louis & Loretta Becker Annette & Sidney Caron Dr. & Mrs. Richard Chessick Bernard & Marilyn Friedman Patricia Gottshalk Paul Goodworth Sandor Jankovich Edward & Phyllis Merkin Ronald & Shirley Pregozen George Rimnac Mr. & Mrs. Henry Rosenbaum Milton Salmansohn Harold & Rita Selz Thelma Soletsky Peter P. Thomas Mr. & Mrs. Henry Wolf in honor of the birth of Darcy Wolf

Friends: $25 - $99 Ada Barach Ruth Barrash Sherwin Chapman Maurice & Ruth Ettleson Debra Feldman Warren Grabner Terese Klinger Sharon & Sol Levin Rochelle Magid Gloria Messerschmidt Michael Modica Sheldon Mostovoy Judy Rosenbaum Loraine Rosenberg Wes Skidgel Eva Shane John Soderstrom Anita Stein Florence Stein Merle D. Warshausky Izzie Weinzweig Charlene Wiss Janice Ross & Martin Zabin

SUPPORTING THE SYMPHONY The concert you hear today was made possible by the generous donors you see listed in our program. To find out how you can contribute, please contact the SVSO office or go to our website at www.svso.org

Skokie Valley Symphony

2 013 - 2 014 B OA R D O F D I R E C TO R S Kathryn J. Canny, President Karen L. Frost, Artistic Vice President � David F. Eccles, Administrative Vice President � Steven Jay Blutza, Ph.D., Treasurer Heather Hill, Secretary John Alberts � Roger Hirsch

Bonnie Malmed � Lee Malmed, M.D. � Randy Micheletti

Ethel Mittenthal Michael Vaughn, Ph.D.

Honorary Board Members Barbara Brown Lucinda Kasperson Thomas Rosenwein J.D. Jack Shankman, J.D. � Denotes member of the orchestra Francesco Milioto, Conductor and Music Director Valerie Simosko, Office Manager Office address: 9501 Skokie Blvd., Skokie, IL 60077 Phone: 847-679-9501 x3014 SVSO Office E-mail: info@svso.org • Website: www.svso.org

Playing With the Stars

We H a v e W i n n e r s ! At our last concert we all had fun with a delightful arrangement for orchestra entitled What’s Up at the Symphony? It is a medley of some of the greatest classics heard as background music to classic cartoons. We held a contest to see who in the audience could name all of the great works in the piece. We weren’t surprised to find that we have a very savvy audience. There were a large number of people that knew quite a few of the works. Those who recognized the most are listed below. We congratulate these knowledgeable winners and happily present them with 2 free tickets to the next SVSO concert of their choice and a dinner certificate to Jameson’s Char House: Russell Reid. Marty Tish. Sheila Mypert Amy Demerben Amy Samuels

Skokie Valley Symphony