seattle Symphony Gerard Schwarz, Music Director
Friday, June 17 7:00 PM McCurdy Pavilion Fort Worden State Park Port Townsend, WA Program: Schubert: Overture to Rosamunde Philip Glass: Harmonium Mountain Samuel Jones: Reflections: Songs of Fathers and Daughters Dvorák: New World Symphony FREE PREVIEW & DISCUSSION
Thursday, June 16 7:00 PM Wheeler Theater With Lucinda Carver, Centrum’s Artistic Director for Chamber Music
Tickets: 800.746.1982 www.centrum.org
E TURN R T N A H P M IU R YMPHONY’S T MAESTRO’S S E H T S IS M DON’T URING THE D D N E S N W O TO PORT T ECTOR! IR D IC S U M S FINAL WEEK A The Seattle Symphony performance celebrates the life and legacy of Centrum Founding Director Joseph F. Wheeler, and is made possible, in part, by the Richard and Anne Schneider Director’s Creative Fund.
Seattle Symphony Friday, June 17, 2011, 7pm Richard F. McCurdy Pavilion, Fort Worden State Park GERARD SCHWARZ, conductor FRANZ SCHUBERT - Overture to Rosamunde, D. 644 PHILIP GLASS - Harmonium Mountain (World Premiere) SAMUEL JONES - Reflections: Songs of Fathers and Daughters (World Premiere) INTERMISSION ANTONÍN DVOŘÁK - Symphony No. 9 in E minor, Op. 95, “From the New World” Adagio—Allegro molto Largo Scherzo: Molto vivace Allegro con fuoco Acknowledgements This concert celebrates the life and legacy of Joseph F. Wheeler (1931-2009), Founding Director of Centrum. Philip Glass’ Harmonium Mountain is presented as part of the Gund/Simonyi Farewell Commissions, in honor of Maestro Gerard Schwarz’s Farewell Season as Music Director. Samuel Jones’ Refl ections: Songs of Fathers and Daughters is made possible by a commission from Charles & Benita Staadecker, David E. Gannett, Michael & Leslie Whalen, and Robert & Gail Stagman. This concert is made possible, in part, by the Richard and Anne Schneider Director’s Creative Fund with support from: William Chapman, SMFETTER, Helen P. Keeley, Jim & Noreen McCarron, the Richard F. McCurdy Family, Jock & Sonchen Patton, and Marsha & Sol Wiener. Additional support is provided by Ed & Laura Littlefield, James & Nelly Tretter, and Rick & Debbie Zajicek. Centrum is grateful to Maestro Gerard Schwarz and Renate Wheeler for their personal support of this historic concert.
Gerard Schwarz Music Director Celebrating his 26th and final season as Seattle Symphony’s Music Director, Gerard Schwarz is recognized around the world for his engaging performances and renowned recording history, and for developing Seattle Symphony into an internationally acclaimed orchestra. Following this season, he will return to conduct the Orchestra annually as Conductor Laureate. A passionate champion of the music of our time, Schwarz will introduce 18 world premieres by American composers this season as part of the Gund/ Simonyi Farewell Commissions. Schwarz has received 2 Emmy awards, 13 Grammy nominations, six ASCAP awards, and numerous Stereo Review and Ovation awards. His extensive discography of some 260 releases showcases collaborations with the world’s prestigious orchestras, including The Philadelphia Orchestra; the Tokyo, Czech and Royal Liverpool philharmonics; the London Symphony Orchestra, Orchestra National de France and Berlin Radio Symphony; the Los Angeles Chamber Orchestra; and the New York Chamber and Seattle symphonies. Schwarz also is Music Director of the Eastern Music Festival in North Carolina, where he was honored in 2009 by the mayor of Greensboro with the Key to the City. He has served as Music Director of New York’s Mostly Mozart Festival, Waterloo Music Festival, Royal Liverpool Philharmonic Orchestra, Los Angeles Chamber Orchestra and New York Chamber Symphony, as well as Artistic Advisor to the Tokyo Philharmonic and Orchard Hall. Schwarz guest conducts around the world and has appeared with many of the great orchestras and pre-eminent soloists of our time. A prolific composer and arranger, Schwarz recently premiered his Trio for Violin, Horn and Piano, hailed as a work of “sophistication and intelligence.” Born to Viennese parents, Schwarz is a graduate of the High School of Performing Arts and The Juilliard School. He is a recipient of the Ditson Conductor’s Award from Columbia University, and was the first American to be named Conductor of the Year by Musical America. He holds honorary doctorates from The Juilliard School, Cornish College of the Arts, Seattle University, University of Puget Sound and Fairleigh Dickinson University. He is an Honorary Fellow of John Moores University, Liverpool.
ProgramNotes
By Paul Schiavo
Overture to Rosamunde, D. 644 The popular image of Franz Schubert as a misunderstood genius, one whose accomplishments went unrecognized until long after his death, is only partly correct. During his lifetime, Schubert did enjoy some success as a composer of songs, piano pieces and chamber music. This achievement was offset, however, by his repeated failures in the field of theater music, where his ambitions were undermined by a knack for choosing hackneyed librettos. A case in point is his incidental music for Rosamunde. Schubert wrote this work for a melodrama about a Cypriot princess and a mysterious stranger who is actually a prince in disguise. Its initial production took place in Vienna in December 1823, at which time the play received scathing reviews and folded after just two performances. But the musical numbers that Schubert composed to supplement the stage action have proved more durable. In particular, its overture has earned a secure place in the orchestral literature. This piece did not originate with Rosamunde, however. Lacking sufficient time to write an original prelude to the play prior to its 1823 premiere, Schubert borrowed one he had previously composed for his opera Die Zauberharfe (“The Magic Harp”), composed in 1820. Though we could more properly call it the Overture to Die Zauberharfe, this composition has become irretrievably associated with Rosamunde. By any name, it constitutes one of Schubert’s most pleasing orchestral works.
1960s, Glass spent two years of intensive study in Paris with Nadia Boulanger and, while there, earned money by transcribing Ravi Shankar’s Indian music into Western notation. By 1974, Glass had a number of innovative projects, creating a large collection of new music for The Philip Glass Ensemble, and for the Mabou Mines Theater Company. This period culminated in Music in Twelve Parts, and the landmark opera, Einstein on the Beach, on which he collaborated with Robert Wilson. Since writing Einstein, Glass has expanded his repertoire to include music for opera, dance, theater, chamber ensemble, orchestra and film. His scores have received Academy Award nominations (Kundun, The Hours, Notes on a Scandal) and a Golden Globe (The Truman Show). In the past few years, he has premiered several new works, including Book of Longing (Luminato Festival) and Appomattox (San Francisco Opera). The English National Opera, in conjunction with the Metropolitan Opera, performed Glass’ Satyagraha in London in April 2007, and the Metropolitan Opera presented the work in April 2008. Glass’ latest opera, Kepler, premiered with the Landestheater in Linz, Austria, in September 2009. Of Harmonium Mountain, Glass writes: “I’m very pleased to provide music for Gerard’s Farewell Season in Seattle. I’ve known him as a fine conductor and a good collaborator. The piece Harmonium Mountain was inspired by a short video work and now exists in an orchestral form produced especially for this event.”
PHILIP GLASS
SAMUEL JONES
FRANZ SCHUBERT
Harmonium Mountain (World Premiere) Born in Baltimore, Maryland, Philip Glass is a graduate of the University of Chicago and The Juilliard School. In the early
Reflections: Songs of Fathers and Daughters (World Premiere) Samuel Jones has been the Seattle Symphony’s Composer in Residence since 1997. During his tenure, Jones has written a number
of works for the Symphony, including concertos for three of the orchestra’s principal brass players, and a Cello Concerto premiered in September 2010 by Maestro Gerard Schwarz’s son, Julian. Reflections: Songs of Fathers and Daughters, was composed in response to a commission from the Symphony, funded by a group of donors including Charles and Benita Staadecker, Jerald Farley, David E. Gannett, Robert and Gail Stagman, and Michael and Leslie Whalen. The commission specified a work that would commemorate and celebrate the special relationship between fathers and daughters. That stipulation, Jones felt, “would be a delight to fulfill. All I had to do was to describe the joy I feel as the father of my own two beautiful daughters.” In practice, however, the composer found it quite challenging to capture the diverse experiences and feelings engendered by this subject and weave them into a coherent musical narrative. His solution entailed combining the formal characteristics of tone poem and song suite. The piece unfolds in a broad tri-part form, its central section a series of interconnected songs forming a suite within the larger work. The composition opens, Jones notes, “with an introductory passage marked by a rippling effect,” one that the composer likens to “the motion of a drop of water falling into a reflective pool.” This aural image of reflection, Jones states, became central to the piece as both a musical and symbolic idea. There follows an extended orchestral song which, according to the composer, expresses the love of a young couple, the searing intensity of new life, and the transcendent joy brought by the birth of a daughter. This initial chapter gives way to the central suite. Each of its five connected movements is announced by a sweeping harp glissando, and several of the movements use melodies of songs
Jones wrote for his girls when they were young. They portray the daughter at advancing ages. The first imagines a skipping, happy child at play. The second, a waltz, shows her becoming a young lady, dancing with her father. The third suggests the father teaching and encouraging his daughter. In the fourth section, the daughter goes off to school, indicated by references to campus songs, where she becomes a strong and independent young woman. In the fifth, a young man, portrayed by the double basses, suddenly enters her life, and she finds herself deeply in love. This song features the entire bass section in what the composer identifies as one of the most extended cantabile bass-section passages in the orchestral literature. The ripples of the reflective pool then return, “this time moving farther and farther apart as the daughter leaves to make her new life,” Jones explains. “The piece closes with the love music with which it began, and with reflections of the couple’s life, their little girl flitting across their minds’ eye.”
ANTONÍN DVOŘÁK
Symphony No. 9 in E minor, Op. 95, “From the New World” On June 5, 1891, Antonín Dvořák received a telegram in Prague from a Mrs. Jeanette Thurber of New York. It read: “Would you accept position Director National Conservatory of Music New York October 1892 also lead six concerts of your works.” Upon landing in New York, Dvořák quickly settled into his new duties and, despite bouts of homesickness, resumed composing. In January 1893, he set to work on his Ninth Symphony, which he finished in May. It was performed for the first time the following December at Carnegie Hall to a highly enthusiastic audience, and it has remained since then the most widely familiar and popular of Dvořák’s works. The symphony bears the subtitle
ProgramNotes “From the New World.” Dvořák declared that he intended that designation to mean “greetings from the New World.” This is very different than a musical panorama of America and American life, which some commentators have held the piece to be. Yet the composer also stated that its American provenance would be obvious “to anyone who ‘had a nose’,” and he told a correspondent: “I do know that I would never have written [it] ‘just so’ had I never seen America.” This ambivalent perspective applies to the symphony’s thematic material. During his American sojourn, Dvořák took an interest in African American spirituals and Native American tribal music, and
he once alluded to the “peculiarities of Negro and Indian music” in the themes of this symphony. But, as he also emphasized, there are no actual quotations of any American music in the “New World Symphony.” Moreover, the “peculiarities” of its melodies — particularly the prominence of “gapped,” or pentatonic, scales — are also those of Czech folk songs. And so we return to Dvořák’s title, which offers what is no doubt the most helpful perspective on the question of the symphony’s nationality: that it was written by a Czech musician under the influence of his experience of life in the United States. To be sure, the symphony’s form, orchestration and much of its character is typically
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Continued
central-European. Yet Americans can be proud that this composition was born on their soil, and that certain aspects of American culture undoubtedly influenced it in ways we might not define precisely but still intuit from its music. Dvořák observes the classical convention of prefacing the first movement with an introduction in slow tempo. The meditative atmosphere of this passage finally is shattered by an ominous figure rising up from the low strings and brass. A timpani roll and suspenseful tremolo note high in the violins then herald the principal theme of the movement proper, a theme given out by the horns and woodwinds. Dvořák balances this idea with two less-weighty
melodies, the first introduced by the woodwinds, the other presented in the low register of the flute. The ensuing Largo presents Dvořák’s most famous melody and surely one of his most exquisite. But the beauty of the celebrated English horn solo should not overshadow the strange power of the brass chords that frame the movement, nor to the melting poignancy of the second subject. That latter theme presents melancholy phrases in the woodwinds against tremolo figures in the strings that sound like wind rustling through tree branches in a bleak autumn sky. A third idea brings a dance-like melody introduced by the oboe. The music grows stronger and more sonorous, then yields to a surprising development: as if in a dream, three themes heard earlier in the symphony appear in succession. This leads to a reprise of the English horn melody and one of the most extraordinary moments in the orchestral literature, as the music seems to hesitate and then falls entirely silent. There are precedents in the symphonic tradition for unexpected pauses, especially in the symphonies of Haydn. But Haydn generally used silence in a witty fashion. Here the effect is poetic and deeply affecting. The opening measures of the third movement are patterned closely on those of the scherzo in Beethoven’s Ninth Symphony, and the succeeding passages manage to attain some of that work’s fierce energy. Dvořák balances them, however, with a relaxed and folkloric central episode. Before the movement is through, we again hear recollections of the symphony’s initial Allegro. The finale provides a summation of the entire composition, for in addition to its own ideas, it also recalls themes from preceding movements. These recollections tie the symphony’s disparate episodes together into a coherent unity and provide, in the final minutes of the piece, a comprehensive and exciting conclusion. © 2008, 2011 Paul Schiavo
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Port Townsend Chamber Music Festival Lucinda Carver, Artistic Director Wheeler celebration series
Lucinda Carver, piano with members of the Rossetti String Quartet
Sunday, October 23, 2011, 2pm
The Cypress Quartet
Sunday, February 19, 2012, 2pm
Baroque Virtuosos
Sunday, April 22, 2012, 2pm Information: (360) 385-3102 ext. 110 www.centrum.org/chamber
artist biographies SYMPHONY PREVIEW
Port Townsend High School
Seattle Symphony Gold Medalist Program
Lucinda Carver, Artistic Director for Chamber Music at Centrum
Rinnah Becker – Violin
Sam Gordon – Cello
Rinnah Becker, a sophomore at Port Townsend High School, began her study of violin at age six. She is a member of the Tacoma Young Artists Orchestra and the Port Townsend High School Orchestra and Chamber Orchestra, led by Barbara Henry. This spring, Rinnah played in the Washington AllState Orchestra under the direction of Gerard Schwarz.
Sam Gordon has been playing the cello for more than half his life. A senior at Port Townsend High School, Sam is a member of the Port Townsend High School Orchestra and the Chamber Orchestra, and he performs with the Port Angeles Symphony. An accomplished student, Sam plans to double-major in cello and math, beginning next year at The University of Washington.
CENTRUM- Washington’s Home for Creative Arts & Education Fort Worden State Park P.O. Box 1158, Port Townsend WA 98368 (360) 385-3102 www.centrum.org
JOSEPH F. WHEELER The Seattle Symphony performance celebrates the life and legacy of Joseph Wheeler, Founding Director of Centrum. Joseph Fred Wheeler was born on December 19, 1931, in Wenatchee, Washington. A clarinet student, he performed in his school bands and orchestras, and music became an integral part of his life. After graduation from Washington State University, Joe taught music in the Tacoma School District at Baker Junior and Stadium High School. During a sabbatical, he earned a doctorate in music education at the University of Northern Colorado, and was then appointed Director of Cultural Arts Project Development in Tacoma to bridge the gap between the arts professionals and arts teachers. In 1972, he was hired as a consultant by the Washington State Arts Commission to research the proposal to create an arts center at the decommissioned Army base Fort Worden, which had become a Washington State Park. As a result of this role, he became the founder and first executive director of Centrum. Under Joe’s direction, Centrum has become one of the nation’s pioneers in presenting week-long summer
Lucinda Carver enjoys a prominent career as pianist, harpsichordist, and conductor. As music director and conductor of the Los Angeles Mozart Orchestra from 1992-2001, she garnered critical praise for her stylistic interpretations of music from the Classical era. Her symphonic credits include appearances with the National Symphony, Los Angeles Philharmonic, Los Angeles Chamber Orchestra, Pacific Symphony, and Hong Kong Philharmonic. Lucinda Carver earned a doctor of musical arts from the USC Thornton School of Music, an artist diploma from the Salzburg Mozarteum, and a master of music from the Manhattan School of Music. In 1998 she joined the faculty at the USC Thornton School of Music, where she teaches piano, harpsichord, and conducting.
workshops at Fort Worden State Park for many different art forms, including jazz, acoustic blues, chamber music, and traditional folk arts programs. Centrum also offers residential programs in arts education and exploration for Washington students at the elementary, middle-school, and high-school levels. The summer workshops feature a performance component for the public, with faculty concerts in the Joseph F. Wheeler Theater (the 300-seat former Army theater renamed in Joe’s honor upon his retirement from Centrum) and McCurdy Pavilion, for which he led the fundraising campaign to build a 1200 seat concert hall out of a WWI-era dirigible hangar. The Pavilion was christened in 1992 by a performance by the Seattle Symphony, which performed previously at Centrum under a big tent next to the Park’s Mule Barn. Maestro Schwarz invited Joe to conduct one work on the inaugural program at the Pavilion. After his retirement from Centrum in 1996, Joe was active in the Port Townsend community in leadership positions with the Northwest Maritime Center, Jefferson General Hospital, the Port Townsend Chamber of Commerce and other organizations. He continued to serve Centrum on its Board of Directors until his untimely passing in November 2009. A devoted family man, he is survived by his wife Renate, three children, two step children and several grandchildren.
SEATTLE SYMPHONY Seattle Symphony, founded in 1903, has been under the artistic leadership of Music Director Gerard Schwarz since 1985. Maestro Schwarz has led Seattle Symphony to international prominence, with more than 125 recordings, 12 Grammy nominations, 2 Emmys and numerous awards. Maestro Schwarz celebrates his Farewell Season as Music Director in 2010–2011, after which he will become the Rebecca & Jack Benaroya Conductor Laureate. Music Director Designate Ludovic Morlot will begin his role as Music Director in the 2011–2012 season. The Orchestra performs in the acoustically superb Benaroya Hall in downtown Seattle. The Symphony is internationally recognized for its adventurous programming of contemporary works, its devotion to the classics, and its extensive recording history. From September through July, the Symphony is heard live by more than 315,000 people. For more information on Seattle Symphony, visit www.seattlesymphony.org.
Gerard Schwartz
The Harriet Overton Stimson Music Director Ludovic Morlot The Leach-Winokur Music Director Designate Marvin Hamlisch Principal Pops Conductor Eric Garcia The Douglas F. King Assistant Conductor Joseph Crnko Associate Conductor for Choral Activities Samuel Jones Composer in Residence
First Violin Maria Larionoff + The David & Amy Fulton Concertmaster Emma McGrath + The Clowes Family Associate Concertmaster John Weller Assistant Concertmaster Simon James Second Assistant Concertmaster Jennifer Bai + Mariel Bailey + Cecilia Poellein Buss + Jun Liang Du** Ayako Gamo + Timothy Garland + Leonid Keylin + Cordula Merks + Mikhail Shmidt + Clark Story + Jeannie Wells Yablonsky + Arthur Zadinsky + Brittany Boulding +‡ Kyung Sun Chee +‡ Kelly Farris +‡ Second Violin Elisa Barston + Principal Michael Miropolsky + The John & Carmen Delo Assistant Principal Second Violin Kathleen Stern + Gennady Filimonov + Evan Anderson + Stephen Bryant + Linda Cole + Xiao-po Fei + Sande Gillette + Artur Girsky + Mae Lin + Virginia Hunt Luce + Eric Scott Andrew Yeung + Natasha Bazhanov +‡ Viola Susan Gulkis Assadi + The PONCHO Principal Viola Arie Schachter + Assistant Principal Mara Gearman + Timothy Hale + Vincent Comer + Penelope Crane + Wesley Anderson Dyring + Sayaka Kokubo + Rachel Swerdlow + Julie Whitton +
Cello Eric Gaenslen + Acting Principal Susan Williams Associate Principal Theresa Benshoof + Assistant Principal Diliana Momtchilova + Bruce Bailey + Meeka Quan DiLorenzo + Roberta Hansen Downey + Walter Gray + Vivian Gu + David Sabee + Charles Jacot +‡ Bass Jordan Anderson + The Mr. & Mrs. Harold H. Heath Principal String Bass Joseph Kaufman + Assistant Principal Jonathan Burnstein + Jennifer Godfrey + Travis Gore + Jonathan Green + Nancy Page Griffin + Ronald Simon Matt McGrath +‡ Flute Scott Goff + Principal Judy Kriewall + Zartouhi Dombourian-Eby + Piccolo Zartouhi Dombourian-Eby The Robert & Clodagh Ash Piccolo Oboe Ben Hausmann + Principal Stefan Farkas + Selina Greso +‡ English Horn Stefan Farkas Clarinet Christopher Sereque + The Mr. & Mrs. Paul R. Smith Principal Clarinet Laura DeLuca + Larey McDaniel + E-Flat Clarinet Laura DeLuca Bass Clarinet Larey McDaniel
Bassoon Seth Krimsky + Principal Paul Rafanelli + Mike Gamburg + Contrabassoon Mike Gamburg Horn John Cerminaro + The Charles Simonyi Principal Horn Mark Robbins + Associate Principal Jeffrey Fair + Assistant Principal Adam Iascone + Susan Carroll** Jonathan Karschney* + Trumpet David Gordon + The Boeing Company Principal Trumpet Geoffrey Bergler + Christopher Smith + Trombone Ko-ichiro Yamamoto + Principal David Lawrence Ritt + Stephen Fissel + Bass Trombone Stephen Fissel Tuba Christopher Olka + Principal Timpani Michael Crusoe + Principal Percussion Michael A. Werner + Principal Michael Clark + Ron Johnson + Harp Valerie Muzzolini Gordon + Principal Keyboard Kimberly Russ, piano ++ Joseph Adam, organ ++ Personnel Manager Keith Higgins Assistant Personnel Manager Scott Wilson
Library Patricia Takahashi Blayney Principal Librarian Robert Olivia Associate Principal Librarian Ron Johnson, Mike Gamburg, Rachel Swerdlow Assistant Librarians
Technical Director Joseph E. Cook
Honorary Member Cyril M. Harris
Artist in Association Dale Chihuly
+ Performing in tonight’s concert ‡ Extra musician ++ Resident musician * Temporary musician, 2010–2011 Season ** On leave, 2010–2011 Season
Associate Conductor for Choral Activities Emeritus Dr. George Fiore
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Voice Works JUne 27-JUlY 3
Farewell Maestro Schwarz and thank you Seattle Symphony Orchestra
Pharis Romero, Alice Gerrard, Jenny Lester, and more! Pharis Romero
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