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On Today’s Program BACH Concerto in C minor for Oboe and Violin I. Allegro II. Adagio— III. Allegro BACH Cantata No. 51, Jauchzet Gott in allen Landen! (Rejoice unto God in all lands!)
1. 2. 3. 4.
Aria, Jauchzet Gott in allen Landen Recitative, Wir beten zu dem Tempel an Aria, Höchster, mache deine Güte Choral, Sei Lob und Preis mit Ehren—Alleluja
BACH Cantata No. 170, Vergnügte Ruh, beliebte Seelenlust (Delightful rest, beloved pleasure of the soul) 1. 4. 5.
Aria, Vergnügte Ruh, beliebte Seelenlust Recitative, Wer sollte sich demnach wohl hier zu leben wünschen Aria, Mir ekelt mehr zu leben
BACH Suite No. 2 in B minor, BWV 1067 1. Ouverture 2. Rondeau 3. Sarabande 4. Bourrées I and II 5. Polonaise: Lentement and Double 6. Menuet 7. Badinerie
ABOUT THE MUSIC
BACH CONCERTO IN C MINOR FOR OBOE AND VIOLIN
JOHANN SEBASTIAN BACH
COMPOSER (1685–1750) • The original arrangement of this concerto is lost, surviving only in Bach’s reworking of the piece for two harpsichords. • This piece was likely composed between 1717 and 1723 when Bach composed most of his concertos. • It’s thought that Vivaldi influenced the virtuoso solo writing and three-movement structure of this piece. • Yoonshin Song, concertmaster, and Jonathan Fischer, principal oboe, will perform the concerto this weekend.
ABOUT THE MUSIC
BACH C A N TATA N O . 5 1 , J A U C H Z E T G O T T I N A L L E N LANDEN! (REJOICE UNTO GOD IN ALL LANDS!)
• This piece, originally scored for soprano, solo trumpet, strings, and continuo, premiered on September 17, 1730 in Leipzig. • The text, written by an unknown author, is drawn from various biblical sources— primarily the books of Matthew, Psalms, and Lamentations. • The closing chorale is a fugal Allelujah in which all the forces, including the soprano and trumpet, join. • Both the soprano and solo trumpet parts are highly virtuosic. The soprano part ranges two full octaves, taking her up to a high C.
ABOUT THE MUSIC
BACH C A N TATA N O . 1 7 0 , V E R G N Ü G T E R U H , B E L I E B T E S E E L E N L U S T ( D E L I G H T F U L R E S T, B E L O V E D PLEASURE OF THE SOUL)
• This piece premiered on July 28, 1726 in Leipzig. • The text is taken from Georg Christian Lehms’s “Gottgefälliges Kirchen-Opfer (Church Sacrifice to God).” • This cantata was originally scored for alto, oboe d’amore, two violins, viola, obligato organ, and basso continuo.
ABOUT THE MUSIC
BACH SUITE NO. 2 IN B MINOR, BWV 1067
• No manuscript score for this piece survives, but the handwriting and paper used for the orchestral parts indicate the piece was written around 1738–1739. • Bach’s orchestral suites are collections of short, lively pieces following French dance forms. This one features demanding parts for a flute soloist, which will be played by Aralee Dorough, principal flute.
ARTIST BIOS JANE GLOVER CONDUCTOR Acclaimed British conductor Jane Glover, named Dame Commander of the Order of the British Empire in the 2021 New Year’s Honours, has been Music of the Baroque’s music director since 2002. She made her professional debut at the Wexford Festival in 1975, conducting her own edition of Cavalli’s L’Eritrea. She joined Glyndebourne in 1979 and was music director of Glyndebourne Touring Opera from 1981 until 1985. She was artistic director of the London Mozart Players from 1984 to 1991, and has also held principal conductorships of both the Huddersfield and the London Choral Societies. From 2009 until 2016 she was Director of Opera at the Royal Academy of Music where she is now the Felix Mendelssohn Visiting Professor. She was recently Visiting Professor of Opera at the University of Oxford, her alma mater. Jane Glover has conducted all the major symphony and chamber orchestras in Britain, as well as orchestras in Europe, the United States, Asia, and Australia. In recent seasons she has appeared with the New York Philharmonic, the Cleveland Orchestra, the Philadelphia Orchestra, the Minnesota Orchestra, the San Francisco, Houston, St. Louis, Sydney, Cincinnati, and Toronto symphony orchestras, the Orchestra of St. Luke’s, and the Bamberg Symphony. She has worked with the periodinstrument orchestras Philharmonia Baroque, and the Handel and Haydn Society. And she has made regular appearances at the BBC Proms. In demand on the international opera stage, Jane Glover has appeared with numerous companies including the Metropolitan Opera, Royal Opera, Covent Garden, English National Opera, Glyndebourne, the Berlin Staatsoper, Glimmerglass Opera, New York City Opera, Opera National de Bordeaux, Opera Australia, Chicago Opera Theater, Opera National du Rhin, Opera Theatre of Saint Louis, Luminato, Teatro Real, Madrid, Royal Danish Opera, and Teatro La Fenice. A Mozart specialist, she has conducted all the Mozart operas all over the world regularly since she first performed them at Glyndebourne in the 1980s, and her core operatic repertoire also includes Monteverdi, Handel, and Britten. Highlights of recent seasons include The Magic Flute with the
ARTIST BIOS Metropolitan Opera, Alcina with Washington Opera, L’Elisir d’amore for Houston Grand Opera, Medea for Opera Omaha, Così fan tutte for Lyric Opera of Kansas City, The Turn of the Screw, Jephtha and Lucio Silla in Bordeaux, The Rape of Lucretia, A Midsummer Night’s Dream, Cosí fan tutte, and Figaro at the Aspen Music Festival, Gluck’s Armide and Iphigenie en Aulide with Met Young Artists and Juilliard, Don Giovanni and The Magic Flute at Opera Theatre of Saint Louis, and Eugene Onegin, The Rake’s Progress, The Marriage of Figaro, L’incoronazione di Poppea, and the world premiere of Sir Peter Maxwell Davies’s Kommilitonen! at the Royal Academy of Music. Future and recent-past engagements include her continuing seasons with Music of the Baroque in Chicago, her returns to the Philadelphia Orchestra, the Cleveland Orchestra, the Houston Symphony, the Orchestra of St Luke’s (at Carnegie Hall) and the London Mozart Players. In the 2019–2020 season she made debuts with the Bremen Philharmonic and the Malaysia Philharmonic. Next season she will make her debut with the Chicago Symphony. Jane Glover’s discography includes a series of Mozart and Haydn symphonies with the London Mozart Players and recordings of Haydn, Mozart, Schubert, Mendelssohn, Britten, and Walton with the London Philharmonic, the Royal Philharmonic, and the BBC Singers. She is the author of the critically acclaimed books Mozart’s Women and Handel in London. She holds a personal professorship at the University of London, is a Fellow of the Royal College of Music, an Honorary Member of the Royal Academy of Music, and the holder of several honorary degrees. In 2020 she was awarded the Royal Philharmonic Society’s Gamechanger Award for her work in breaking new ground for other female conductors.
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ARALEE DOROUGH PRINCIPAL FLUTE GENERAL MAURICE HIRSCH CHAIR Aralee Dorough is sponsored by Mr. Glen A. Rosenbaum and Mr. & Mrs. Russell M. Frankel
Aralee Dorough began her tenure with the Houston Symphony as second flute in 1985, becoming the orchestra’s principal flutist in 1991. Dorough teaches orchestral repertoire at the Texas Music Festival and the Festival-Institute at Round Top and is an affiliate artist on the faculty of the Moores School of Music at the University of Houston. She first appeared as a soloist with the Houston Symphony performing Mozart’s Concerto in C Major for Flute, Harp, and Orchestra with internationally-renowned harpist, Marisa Robles, and led by then-Music Director Christoph Eschenbach, for the 1992–93 season Opening Night gala concert. Dorough also performed Mozart’s Concerto in G Major with Eschenbach and the Houston Symphony in 1993 for a triple CD set released by IMP Records in 1994, and again in concert in 2004 under former Music Director Hans Graf. Her latest performance of the popular D major flute concerto completed her personal “Mozart cycle.” Dorough gave the world premiere of Bright Sheng’s concerto, Flute Moon, in 1999, which was commissioned by the Houston Symphony and broadcast live on PBS. In 2003, she gave the U.S. premiere of Salvador Brotons’s concerto, which Brotons himself conducted for the National Flute Association Convention. In 2006, Dorough and Houston Symphony colleagues presented the premiere of a chamber work by composer Gabriela Lena Frank on a collaborative program between the Houston Symphony and the Da Camara Society. Other solo appearances with the Symphony have included Quantz’s Concerto in G major with conductor Nicholas McGegan and Bach’s Brandenburg Concerto No. 5 with conductor Joshua Rifkin and violinist Eric Halen. An avid chamber player and contemporary music performer, Dorough has played with the Houston Symphony Chamber Players, whose recording of Schoenberg’s Quintet for Winds on the Koch label has been met with critical acclaim. She has also performed with the Da Camera Society
ARTIST BIOS of Houston, The Foundation for Modern Music, Musiqa, the FestivalInstitute at Round Top, and Chicago’s Ravinia Festival in collaboration with Christoph Eschenbach at the piano. Dorough can be heard on over 20 Houston Symphony recordings and performances aired on PBS and American Public Media’s Performance Today, and she has worked with a distinguished roster of conductors and guest artists including Eric Leinsdorf, Michael Tilson Thomas, Leonard Slatkin, and Yo-Yo Ma. She also collaborated with her father, jazz artist and Schoolhouse Rock composer Bob Dorough, on The Houston Branch CD project in 2005, available at cdbaby.com. The album features Dorough along with her husband, father, and three of Houston’s top jazz musicians performing standard tunes and her father’s originals, including one of her own compositions. Because of her father, Dorough has been peripherally involved with jazz and studio work throughout her career, including a speaking part on “My Hero Zero” for ABC TV’s Schoolhouse Rock at age nine. Dorough received her undergraduate degree from the Oberlin Conservatory of Music in 1983, where she studied with master teacher Robert Willoughby and met her future husband, Houston Symphony oboist Colin Gatwood. She continued her studies as a graduate student at the Yale School of Music where she worked with renowned teacher Thomas Nyfenger.
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JONATHAN FISCHER PRINCIPAL OBOE LUCY BINYON STUDE CHAIR Jonathan Fischer is sponsored by Nancy Peiser
Jonathan Fischer joined the Houston Symphony as principal oboe in September 2012 and was invited to join the faculty of the University of Houston in September 2014. Prior to his appointment with the Houston Symphony, Fischer served as associate principal oboe with the San Francisco Symphony for nine seasons. He has also held positions with The Cleveland Orchestra, the Lyric Opera of Chicago, Grant Park Orchestra, Santa Fe Opera, Canadian Opera Company, Savannah Symphony, and the New World Symphony. Fischer has performed as a guest principal with many of the nation’s leading orchestras including the Boston, Chicago, and Baltimore Symphony Orchestras, the Los Angeles Philharmonic, the St. Louis and Atlanta Symphonies, and the St. Paul Chamber Orchestra. He has performed as a soloist with the Houston Symphony, Grant Park Symphony, New World Symphony, and the San Francisco Symphony. Fischer currently teaches at the University of Houston’s Moores School of Music and Texas Music Festival. He has taught and performed at the Aspen Music Festival and the Oberlin Conservatory. He has given masterclasses at the Royal Conservatory of Music in Toronto, the San Francisco Conservatory, Rice University, and University of Michigan, and has been a coach at the New World Symphony. He holds a degree from the Curtis Institute of Music, where he studied with Richard Woodhams. A native of South Carolina, Fischer now enjoys living in the Heights with his dog, a Louisiana Catahoula mix.
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ANNE LEEK ASSOCIATE PRINCIPAL OBOE Anne Leek was educated at Juilliard where she received her bachelor of music, master of music and doctor of musical arts degrees. During her time in New York, she performed on a recital in Carnegie Hall sponsored by the Artists International Contest, which she won. During the 1980s, Leek was Solo Principal Oboe of the Mannheim Orchestra in Germany. Before joining the Houston Symphony, she played a two year position as principal oboe in the Pittsburgh Symphony, under the baton of Lorin Maazel. Along with her career as an orchestral musician, Leek has taught at Indiana University, Arizona State University and has taught at the University of Houston. As a recital soloist and chamber musician, she has appeared in numerous major cities across the world.
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MARK HUGHES PRINCIPAL TRUMPET GEORGE P. AND CYNTHIA WOODS MITCHELL CHAIR Mark Hughes is sponsored by Mrs. Sybil F. Roos
Mark Hughes “knows how to spin out a long line with the eloquence of a gifted singer,” says Derrick Henry of the Atlanta Journal-Constitution. Hughes developed his abilities at Northwestern University where he studied with the late Vincent Cichowicz of the Chicago Symphony. After graduation, he joined the Civic Orchestra of Chicago as a scholarship student of Adolph Herseth, the legendary Principal Trumpet of the Chicago Symphony. Hughes then began touring with Richard Morris as the popular organ and trumpet duo, “Toccatas and Flourishes,” performing throughout the United States and Canada. His appointment as Associate Principal Trumpet with the Atlanta Symphony Orchestra followed, which he held for 12 years. During his time with the ASO, he appeared as soloist with the orchestra on numerous occasions, performed on dozens of recordings, and was an active studio musician. Hughes has served as Principal Trumpet of the Houston Symphony since 2006. He has appeared as soloist with the orchestra on several occasions, including the performance of the Shostakovich Concerto No. 1 for Piano and Trumpet with Jon Kimura Parker, a performance heard nationally on American Public Radio’s SymphonyCast. Since his arrival in Houston, Hughes has performed and recorded with the Boston and Chicago Symphony Orchestras and continues to be in demand as a soloist with orchestras and in recital. In addition, he serves on the faculties of the Brevard Music Center and the Texas Music Festival each summer. Hughes lives in Bellaire with his wife, Marilyn, and their two children, Thomas and Caroline.
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YOONSHIN SONG CONCERTMASTER MAX LEVINE CHAIR Acclaimed as “a wonderfully talented violinist…whose sound and technique go well beyond her years,” violinist Yoonshin Song was born in South Korea, where she began her musical studies at age 5. Making her solo debut with the Seoul Philharmonic at age 11, she has since built a successful performing career internationally. Yoonshin was appointed as Concertmaster of the Houston Symphony in August 2019. Prior to that she has held the same position with the Detroit Symphony Orchestra for seven seasons. Yoonshin has also served as guest concertmaster of the Budapest Festival Orchestra under Iván Fischer. Beyond her first chair duties, Yoonshin has performed as a soloist with many orchestras around the world, including the Houston Symphony, the Detroit Symphony Orchestra, the Utah Symphony, the New Mexico Philharmonic Orchestra, the Bayreuth Festival Orchestra, the Paul Constantinescu Philharmonic Orchestra, the Seoul Philharmonic Orchestra, the KBS Philharmonic Orchestra, among many others. She has also participated as a soloist and chamber musician in numerous leading music festivals, including the Marlboro, Deer Valley, Great Lakes, and Aspen Music Festivals in the United States; the Miyazaki Chamber Music Festival in Japan; and the Verbier, Lucerne, and Bayreuth Festivals in Europe. Yoonshin has earned many prestigious prizes throughout her career, including top prize awards in the Lipizer International Violin Competition in Italy; the Lipinski & Wieniawski International Violin Competition in Poland; the Henry Marteau International Violin Competition in Germany; and first prize at the Stradivarius International Competition in the United States. She studied under the tutelage of Donald Weilerstein at the New England Conservatory and continued her studies with Robert Mann and Glenn Dicterow at the Manhattan School of Music.
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YULIA VAN DOREN SOPRANO Recognized by Opera as “A star-to-be” following her Lincoln Center debut, young RussianAmerican soprano Yulia Van Doren’s debut with the Toronto Symphony Orchestra was acclaimed as a “revelation… a ravishing lyric voice and an ease with vocal ornamentation that turned her into an enchanted songbird” (Toronto Star). For her last-minute step-in with the Cleveland Orchestra, the Cleveland Plain Dealer praised Van Doren as an artist of “melting poignancy” and added, “To Van Doren, one could easily have listened for hours.” A dedicated interpreter of repertoire off the beaten path, career highlights include creating the lead female role in the world premiere of Shostakovich’s Orango with the Los Angeles Philharmonic, directed by Peter Sellars and released on Deutsche Grammophon; two Grammy-nominated opera recordings with the Boston Early Music Festival; the modern revival of Monsigny’s opera Le roi et le fermier at Opera de Versailles, Lincoln Center and the Kennedy Center (recorded for Naxos) with Opera Lafayette; a tour of Handel’s Orlando with Philharmonia Baroque Orchestra to the Mostly Mozart, Ravinia and Tanglewood festivals; a leading role in Scarlatti’s Tigrane at Opera de Nice; nationallytelevised performances at the Cartagena International Music Festival with soprano Dawn Upshaw, an important mentor; and creating a leading role in the world premiere staging of Lera Auerbach’s The Blind, an a cappella opera, in the Lincoln Center Festival. Especially recognized for her work in the baroque repertoire, Ms. Van Doren has performed with the majority of the North American Baroque festivals and orchestras and has the distinction of being the only singer awarded a top prize in all four US Bach vocal competitions. Other notable debuts and engagements include performances with the San Francisco, Toronto, Houston, Cincinnati, St. Louis, National, Seattle, Nashville, Colorado, Baltimore, Indianapolis, and Milwaukee symphonies; the Cleveland Orchestra; the Los Angeles Master Chorale; Washington D.C.’s Folger Consort; and two trips to the Netherlands for performances with the Radio Kamer Filharmonie. Born in Moscow, Yulia Van Doren was raised in the United States in a musicfilled household in which she and her seven younger siblings were taught by her Russian mezzo-soprano mother and American jazz pianist father. Ms. Van Doren is honored to be an Astral Artist, a Paul and Daisy Soros Fellow, and the recipient of a Beebe Grant. Visit Yulia on the web at schwalbeandpartners.com/yulia-van-doren-soprano.
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ELIZABETH DESHONG MEZZO-SOPRANO Opera News wrote of Elizabeth DeShong’s performance as Sesto in the Los Angeles Opera’s production of La Clemenza di Tito: “Elizabeth DeShong took pride of place as Sesto. Completely unrecognizable in her beard and dingy armor, DeShong sang with the range, expressiveness and musical precision that captured the hysterical extremes of her character. Much of Sesto’s music lies in the cellars of DeShong’s mezzosoprano, where the intensely deep contralto tones she commands contrasted startlingly with the dazzling coloratura runs at the top of her range.” During the 2019–20 season, Ms. DeShong made her debut with the Melbourne Symphony as Hänsel in concert performances of Hänsel and Gretel and sang Pauline in Pique Dame at Lyric Opera of Chicago–both conducted by Sir Andrew Davis. In addition, Ms. DeShong performed in Sorrows and Solace; a performance of two Bach cantatas with the Haymarket Opera in Chicago. Engagements at the Metropolitan Opera, Lyric Opera of Chicago, Oper Frankfurt, and Cleveland Orchestra, among others, were cancelled due to the ongoing pandemic. Last season, Ms. DeShong performed Adalgisa in Norma with the North Carolina Opera, gave a recital for Vocal Arts, D.C., sang John Adams’ The Gospel According to the Other Mary with the Accademia Nazionale di Santa Cecilia with the composer conducting, and was a soloist in Handel’s Messiah with the San Francisco and Houston Symphonies, conducted by Jane Glover. Additional highlights were her debuts with the Los Angeles Philharmonic as Ariel in Sibelius’ The Tempest, the Philadelphia Orchestra in Rossini’s Stabat Mater, conducted by Yannick Nézet-Séguin, a tour of Europe and the United States with The English Concert in which she portrayed both Juno and Ino in Handel’s Semele, the Verdi Requiem with the Minnesota Orchestra, and Sesto in a new production of La Clemenza di Tito with the Los Angeles Opera. In 2018–19, Ms. DeShong sang Ruggiero in Alcina at Washington National Opera, and Arsace in Semiramide at the Metropolitan Opera. In concert she performed Mendelssohn’s Elijah with Music of the Baroque, and made her debut with the Chicago Symphony Orchestra in Schubert’s Mass No. 6, and the world premiere of Three Lisel Mueller Settings by Maxwell Raimi, both conducted by Riccardo Muti. On the European platform, Ms. DeShong portrayed
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Suzuki in a new production of Madama Butterfly at the Glyndebourne Festival, and made her debuts with the Accademia Nazionale di Santa Cecilia, and at the Proms in Bernstein’s Symphony No. 1 (“Jeremiah”), under the direction of Sir Antonio Pappano, and sang Hänsel in a concert version of Hänsel and Gretel conducted by Sir Andrew Davis at the Edinburgh International Festival. Further performances of note include Adalgisa in Norma at the Lyric Opera of Chicago, and her Royal Opera and Bayerische Staatsoper debuts as Suzuki. Ms. DeShong has performed extensively throughout the world with such companies as the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Los Angeles Opera, Canadian Opera Company, English National Opera, Wiener Staatsoper, Opéra National de Bordeaux, the Glyndebourne Festival, and Aix-enProvence. The list of symphony orchestras with whom she has performed includes the Cleveland Orchestra, Chicago Symphony, Baltimore Symphony, Pittsburgh Symphony Orchestra, Dallas Symphony Orchestra, Orchestra of St. Luke’s, Cincinnati Symphony, National Symphony Orchestra, Toronto Symphony, the Royal Flemish Orchestra, Royal Scottish National Orchestra, the Oregon Symphony, The English Concert, and the Accademia Nazionale di Santa Cecilia. Ms. DeShong was the recipient of the Washington National Opera’s “Artist of the Year” award in 2010, as the Composer in Richard Strauss’s Ariadne auf Naxos. On DVD, she can be seen as Suzuki in the Royal Opera’s production of Madama Butterfly on Opus Arte, Hermia in the Metropolitan Opera’s pastiche opera The Enchanted Island (Virgin), and as Maffio Orsini in the San Francisco Opera’s production of Lucrezia Borgia (EuroArts Music and Naxos of America).
