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Music Without Borders 1

FROM THE

STAGE Welcome to LG&E “Music Without Borders”, a new neighborhood concert series of the Louisville Orchestra! I am very excited about what this series represents - both musically and institutionally. These programs have all been crafted to showcase the extraordinary artistry and virtuosity of the Louisville Orchestra in new locations throughout the Louisville region. I’ve always thought of an orchestra as more than just an organization that presents performances; it should be the hub for the greatest and most inspiring music-making in our community. The Louisville community is broad, diverse and has a deep appreciation for great art. The region is represented by wonderfully strong, distinctive and beautiful neighborhoods. It is clear to me that to fulfill our mission of reaching all potential audiences in the region, we need to bring the orchestra to Louisvillians, wherever they might be!

The musicians and staff of the Louisville Orchestra have worked hard to define what a modern orchestra should be. While we love the Whitney Hall and Brown Theatre, our beautiful downtown concert halls, I think that it is critical to make music in places that people care about and feel connected to. We are working toward the flexibility of creating music wherever it is needed, or wherever it can make a difference in the life of our community.

This might mean surprise pop-up concerts in parks or city streets, or programming at hospitals or shelters, or a program featuring Beethoven or Mahler downtown; it is this definition and energy that inspired the “Music Without Borders” Series. Our hosts for each of these performances have their own strong and meaningful communities, and it is an honor to share our music with our new partners and friends.

My hope is that the Louisville Orchestra will be a topic that comes up regularly in our community. I feel strongly that music is a basic need, an essential means for connecting human beings - an orchestra is perhaps the most magnificent and grand musical organization. I want the great music that we play to be a part of the everyday lives of our community, and to create art to which our audiences feel powerfully connected.

This series is the start of that goal, and we are very happy to have you join the Orchestra’s family!

Teddy Abrams, Music Director Louisville Orchestra

s r e d r o b t u o h t i w music

Teddy Abrams conducts

BEETHOVEN

October 9 – 10, 2014 RAVEL

Le Tombeau de Couperin

I. Prélude (in memory of First Lieutenant Jacques Charlot) II. Forlane: Allegretto (in memory of First Lieutenant Gabriel Deluc) III. Menuet: Allegro moderato (in memory of Jean Dreyfus) IV. Rigaudon: Assez vif (in memory of Pierre and Pascal Gaudin)

BEETHOVEN Symphony No. 2 in D major, op. 36 Adagio molto: Allegro con brio Larghetto Scherzo: Allegro Allegro molto

d. sorrow unmaske “Your joy is your ur ell from which yo w e am lfs se e th And with oftentimes filled laughter rises was your tears. it be?

And how else can your rrow carves into The deeper that so ” y you can contain. being, the more jo

hlil Gibran The Prophet by Ka

JOY AND SORROW The meaning of life and death is the ultimate question that humanity has struggled to define and answer throughout history. Today, we are mesmerized by clips on Youtube of great joy; the exuberance of a unique “walk down the aisle” or the royal wedding of the decade. And we are equally fascinated by great tragedies that play out with unfortunate regularity on the news. We ask ourselves “why?” when a tragedy occurs whether it is created by nature or by humans. Surprisingly, we don’t ask the same question of great happiness; perhaps it is because we live vicariously through these voyeuristic moments of great joy.

For many of us, contemplating life and death is often prompted by very personal experiences. We process our thoughts by creating videos, journals, songs and through other artistic means. Writes, artists, composers and musicians have done so for centuries. Two composers, Ludwig van Beethoven and Maurice Ravel, whose lives and compositions are separated by more than one hundred years, expressed their personal experiences of joy and sorrow in the works you will hear tonight.

On the surface, you may wonder what these two men could possibly have in common; separated by a century and from different countries. But when we dig deeper, there are some surprising similarities between the impeccable Ravel and the irascible Beethoven. Both men were shaped by the times they lived in, much of which was dominated by war. For Beethoven, it was Napoleon’s campaign through Europe, and for Ravel, it was World War I. They were also deeply affected by the loss of friends and loved ones as well as struggles with their personal health. Yet from these well-springs of pain and loss, moments of great joy still shone through.

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STATS

Maurice Ravel

1770

Beethoven born (Bonn, Germany)

March 4,1801

Thomas Jefferson inaugurated as the second President of the United States

Beethoven - Symphony No. 2 in D major

1801-1802

Beethoven - Symphony No. 5 in C minor

1804 -1808

A REMEMBRANCE OF FRIENDS AND TIMES GONE BY

BORN: March 7, 1875 in the Basque town of Ciboure, France (near the border with Spain) DIED: December 28, 1937 in Paris, France

Le Tombeau de Couperin FIRST PERFORMANCE Piano version - April 11, 1919 by Marguerite Long in the concert hall of the Salle Gaveau in Paris (Gaveau was a French piano manufacturer) Orchestral version – February 28, 1920 with conductor Rhené-Baton LO PREMIERE October 10, 1967 Jorge Mester conducting MOST RECENT LO PERFORMANCE April 29, 2011 Jorge Mester conducting SCORING 2 flutes (one doubling piccolo) 2 oboes (one doubling English horn) 2 clarinets 2 bassoons 2 horns Trumpet Harp Strings PERFORMANCE TIME Approximately 16 minutes

Maurice Ravel began composing a French suite for piano in 1914 that was completed in 1917, a period of time that covered most of World War I. Originally conceived as an homage to the golden era of French music, in particular the music of François Couperin (hence the use of Couperin in the title), Ravel’s suite instead became a remembrance of friends lost during the war. Ravel’s own role in the war was less than he had hoped as he wanted to serve in the Air Force, but at 5’3” he was too small. Instead, Ravel was able to enlist in the Thirteenth Artillery Regiment as a truck driver. He baptized his truck “Adélaïde” and took to signing his papers as “Chauffeur Ravel”. The job was exhausting and hazardous, and Ravel’s health suffered (he was 39 at the time).

In 1916, the National League for the Defense of French Music was formed and it was proposed that all music from German and Austrian composers be banned in France. While other notable French composers like d’Indy and Saint-Saëns signed the petition, Ravel refused. In a letter to the organization, Ravel stated that “it would even be dangerous for French composers to ignore systematically the productions of their foreign colleagues, and thus form themselves into a sort of national coterie: our musical art which is so rich at the present time, would soon degenerate, becoming isolated by its academic formulas.”

Ravel would suffer his greatest personal blow when his beloved mother died on January 5, 1917. It was a turning point in his career and his compositional output slowed dramatically to one completed composition a year. Ravel was discharged from military duty in 1917 and retreated to the home of Monsieur and Madame Fernand Dreyfus, about 60 miles from Paris. It was here that he completed the piano version of Le Tombeau de Couperin with each of the six movements dedicated to a fallen comrade. For the orchestral version, only four of the movements were fully orchestrated. Ravel used the forms of a baroque dance suite to create each movement. The opening movement “Prélude” sets the gentle tone for the entire piece and was dedicated to First Lieutenant Jacques Charlot, a cousin of Jacques Durand who transcribed several of Ravel’s works. The second movement “Forlane” is based on a Northern Italian folk dance and was dedicated to First Lieutenant Gabriel Deluc (a Basque painter). For this movement, Ravel transcribed a Couperin Forlane as a way to learn composer’s style. The third movement “Menuet” is based on the French dance in ¾ time and was dedicated to Jean Dreyfus, the son of Monsieur Dreyfus.

The fourth and final movement of the orchestral version “Rigaudon” was dedicated to Ravel’s childhood friends Pierre and Pascal Gaudin (both killed by the same shell on their first day on the front lines). The Rigaudon is a lively French dance in 2/4 time that became extremely popular during the reign of Louis XIV (reigned 1643 – 1715).

After the war, Ravel continued to compose and he even orchestrated other composers’ work to much acclaim, including Mussorgsky’s Pictures at an Exhibition in 1922. In 1930, Ravel would complete his most notorious work, Boléro, as well as his piano Concerto for the Left Hand for Austrian pianist Paul Wittgenstein who lost his right arm in World War I. 4 Louisville Orchestra

1827

Beethoven dies End of Classical Era

Ravel born (Ciboure, France)

1875

1914 – 1917

Ravel - Le Tombeau de Couperin (1914 – 1917, orchestral version in 1919)

1937 Ravel dies

STATS

Ludwig van Beethoven

World War I

July 28, 1914- Nov 11, 1918

A PROFOUND LOSS In the spring of 1802, on the advice of his doctor, Ludwig van Beethoven temporarily moved to the small town of Heiligenstadt (on the outskirts of Vienna). The town’s hot springs were thought to provide relief from a variety of ailments, and as Beethoven suffered from intestinal issues as well as his encroaching deafness, this seemed to be a good plan. The scope of Beethoven’s deafness has been cause for much speculation over the years. As early as 1796, Beethoven began to lose his hearing. According to the composer’s letters, his ears “sing and buzz constantly, day and night”. It was likely Beethoven was suffering from tinnitus that progressed to profound hearing loss by 1814.

But in the summer and fall of 1802, even though he was greatly concerned about his health problems, creatively Beethoven was on fire. He seemed to realize this as he stated in a letter to a friend “I live only in my notes, and with one work barely finished, the other is already started; the way I now write I often find myself working on three, four things at once.” Perhaps Beethoven sensed that he had a limited time left in which he could hear his work. The “will” he wrote to his brothers during his time in Heiligenstadt seemed to indicate that he was concerned he had little time left on earth. The will became known as the Heiligenstadt Testament but Beethoven would live another 25 years.

Beethoven’s Second Symphony was completed in the fall of 1802 and premiered the following spring. This symphony signaled the end of his early period and upon his return from Heiligenstadt, his work took a dramatic turn that fathered in the Romantic Era. The first movement begins in a slow tempo (Adagio Molto), exploring large, expressive harmonies and lovely lyricism that segue into the second section; a sprightly and high spirited Allegro con brio. In contrast to the lively first movement, the second movement (Larghetto) is leisurely and reflective. This movement contains ideas and elements Beethoven will explore and expand in his Sixth Symphony (Pastoral). Instead of the traditional Minuet for the third movement, Beethoven turns tradition on its ear by writing a Scherzo (Allegro); an almost joking style that tells us he is going to compose music on his own terms. The fourth movement finale (Allegro molto) combines the grand scale of movements one and two with the lightness of the third to give a most satisfying end to the symphony.

BORN: December 16, 1770 in Bonn, Germany DIED: March 26, 1827 in Vienna, Austria Symphony No. 2 in D major FIRST PERFORMANCE April 5, 1803 at the Theater an der Wien in Vienna, Austria LO PREMIERE November 14, 1939 Robert Whitney conducting MOST RECENT LO PERFORMANCE January 13, 2007 Daniel Hege conducting SCORING 2 flutes 2 oboes 2 clarinets in A 2 bassoons 2 horns in D and E 2 trumpets in D Timpani Strings PERFORMANCE TIME Approximately 35 minutes

Music Without Borders 5

FROM THE

STAGE MEET THE MUSICIANS – ANDREA LEVINE I started playing the clarinet in 5th grade, in Queens, New York. I was drawn to the clarinet at that young age because it wasn’t the flute (at my school we only had two choices) and I thought the clarinet looked nicer. Anyway, I was hooked and have been playing ever since. I have been principal clarinet of the Louisville Orchestra since 2003.

The clarinet figures large in some of the repertoire on this concert. Klezmer music often features the clarinet. I’m not sure exactly why that is, but it may have something to do with the clarinet’s range, its ability to play high notes at a loud volume, and its ability to gliss, or bend the pitch on and between notes. I always find klezmer music challenging; I feel like it really stretches my ability since I don’t get to play it that often. The rhythmic patterns are different from the typical classical pieces we play in the orchestra, and I feel like I have to play a different character.

The Dances of Galánta by Zoltán Kodály is one of the biggest solo opportunities that we have as clarinetists within the orchestral repertoire. As with klezmer, playing this piece well also requires a different character. Through years of music school and training, all of my teachers emphasized how many of the rhythms in Galánta are rooted in Hungarian speech patterns. As I don’t speak Hungarian, I don’t really know if that’s true, but I hope that I would make my teachers proud if they heard me play it this weekend.

In Stravinsky’s Suite from The Firebird, I have my work cut out for me. The whole orchestra does. There are beautiful moments for each woodwind instrument in the slow sections, as well some technically challenging passages such as in the Firebird’s Variation, and the Infernal Dance. What makes me forget about how tough it is to play is how moving the music is. Many of you in the audience will recognize parts of The Firebird and I hope you all enjoy it!

Andrea Levine, Principal Clarinet Louisville Orchestra

s r e d r o b t u o h t i w music Teddy Abrams conducts

THE FIREBIRD

October 23-25, 2014

LISZT Hungarian Rhapsody No. 2, in C Minor arr. Müller Berghaus (1847 piano, published 1851 for orchestra) KODÁLY

Dances of Galánta (1933)

ZHURBIN

Klezmer Tanz Suite (2014)

STRAVINSKY

The Firebird: Suite (1919)

EXPLORING THE MUSIC OF HUNGARY AND RUSSIA Both Hungary and Russia have rich classical music traditions that date back to the early 19th century with earlier music that was primarily sacred (church) and/or secular (folk). Hungarian classical music was dominated by German or Viennese compositional styles and Russian classical music lagged behind as the Russian Orthodox Church officially condemned secular music. Western European musicians and composers had certainly made appearances in the Imperial Russian courts but under Peter I (“the Great”), they were welcomed and celebrated as Peter believed that European music was a mark of civilization.

The early 19th century brought musical change to both countries with composers Mikhail Glinka in Russia and Franz Liszt in Hungary. Both men valued the use of national folk musical idioms in their compositions and inspired new generations of composers. In Russia, these composers included “The Five” (Balakirev, Cui, Mussorgsky, Rimsky-Korsakov and Borodin) followed by Tchaikovsky, Rachmaninoff, Stravinsky, Shostakovich and contemporary composers Alexander Zhurbin and his son Lev (“Ljova”). In Hungary, these composers included Bartók and Kodály.

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STATS

Franz Liszt

1811

Liszt born (Doborján, Hungary)

Oct. 1847

Jane Eyre by Charlotte Brontë is published under the pen name Currer Bell

Liszt - Hungarian Rhapsody No. 2, in C Minor

1847-54 THE CELEBRITY HUNGARIAN

BORN: October 22, 1811 in Doborján (German: Raiding), Hungary DIED: July 31, 1886 in Bayreuth, Germany Hungarian Rhapsody No. 2 LO PREMIERE (EXCERPT) January 11, 1990 Adrian Gnam conducting MOST RECENT LO PERFORMANCE March 18, 2010 Bob Bernhardt conducting SCORING 2 flutes 2 oboes 2 clarinets 2 bassoons 4 horns 2 trumpets in F 3 trombones Tuba Timpani Percussion Harp Strings

One of the first great Hungarian classical composers and ambassadors was Franz Liszt. Even though he was born in Hungary, after the age of 10 much of Liszt’s life was spent traveling and performing throughout Europe. But he never forgot the music from his childhood, listening to his father play sacred and Romani music on the piano. A virtuoso pianist and prolific composer, Liszt’s works are catalogued using an “S” for Howard Searle who compiled the list for Grove Dictionary in the 1960s (like the Mozart catalogue with “K” for Köchel). Not only did he compose his own original works but also transcribed and arranged the music of other composers as well. Liszt was also the rock star of his generation, causing what the critics called “Lisztomania” amongst his rabid fans. His electrifying performances were said to create a level of mystical ecstasy and souvenirs like his velvet gloves and silk handkerchiefs were greatly prized – and Liszt usually obliged by throwing them into the audience.

The Hungarian Rhapsodies for piano (there are 19) were an outgrowth of Liszt’s fascination with music of Hungary and Gypsy band music. At the height of his fame, Liszt wrote a book celebrating Romani (gypsy) music; Les bohémiens et leur musique en Hongrie (The Gypsies and their music in Hungary, published 1859). He sought out Romani musicians to study their music and greatly admired their musical prowess and creativity. Liszt believed that Romani music and rhythm was the foundation of Hungarian folk music, offending many of his Hungarian contemporaries. Liszt endeavored to transcribe Romani melodies he heard during his research calling them “Magyar Dallok” (Hungarian National Melodies) then improvising into what became the Hungarian Rhapsodies for piano.

Hungarian Rhapsody No. 2 is the best known as it has made its appearance in many cartoons beginning with Mickey Mouse in 1929’s The Opry House to Who Framed Roger Rabbit? (1988) in the dueling piano scene between ducks; Daffy and Donald.

The structure of this Rhapsody (csárdás) maintains two of the typical Romani elements in their improvisations; the slow section (lassan) and the fast section (friska). The Rhapsody begins with the lassan in minor, and the mood is dark although there are moments of playfulness (listen in particular to the clarinet). A return to the somberness of the opening with the melody in the lower strings is quickly followed by a lighter feel by returning the melody to the upper strings and woodwinds. This segues into the friska that quickly builds the tempo into an almost fervent pitch (this is the section most will remember from the cartoons).

PERFORMANCE TIME Approximately 11 minutes

8 Louisville Orchestra

Dec. 1882

Kodály born (Kecskemét, Hungary)

Stravinsky born (Oranienbaum, Russia outside of St. Petersburg)

June 1882

1886

Liszt dies

Jan. 1919

18th Amendment authorizing Prohibition is ratified

STATS

Zoltán Kodály

Stravinsky - The Firebird: Suite (1919)

1919

THE FATHER OF HUNGARIAN MUSIC EDUCATION Even if you’ve never heard of Zoltán Kodály before, if you’ve seen Steven Spielberg’s Close Encounters of the Third Kind (1977), then you are familiar with one aspect of the Kodály method of music education. But we are getting ahead of ourselves so let’s go back to the late 19th century in Hungary where Kodály’s story begins. Born in 1882 to a railway official, early life for Zoltán was spent traveling with his family but at least seven of his earliest years were spent living in Galánta. He studied piano, violin and sang in church choirs, where he gained an appreciation for choral singing. He taught himself to play the cello and began composing music in his teens. At the turn of the 20th century, Zoltán was studying modern languages in Budapest but music was still his passion and he enrolled in the Academy of Music in 1906. He was intensely interested in traditional Hungarian folk songs – “a good folk song is a perfect masterpiece in itself”.

In the mid-1920s, Zoltán became very concerned about the poor quality of music education in Hungary. In 1935, Zoltán partnered with composer and music educator Jenö Ádám to begin reforming music education by centering on new curriculum and new teaching methods many of which were adapted from other methodologies. The Kodály method was based primarily on authentic folk music and quality composed music. With fellow Hungarian composer Béla Bartók, Zoltán collected and published six volumes of Hungarian folk music. When Zoltán published several books with this new methodology, the impact was profound. In 1945, Hungary began implementing his methodology in public schools and now, along with Orff, Dalcroze and Suzuki, the Kodály method is standard music education practice around the world.

This brings us back to Close Encounters of the Third Kind . . . there are two sequences in particular that feature the Kodály method of hand signs. Hand signs were developed as a visual representation of notes so as the movie progresses, it is learned that the UFOs that have been sighted emit a five-tone musical phrase in a major scale. When the French scientist explains this musical phrase at a lecture, he uses the Kodály hand signs. And again, when he meets the aliens, he communicates using those same hand signs.

Dances of Galánta was composed in the Hungarian style of “verbunkos”, an 18th century music genre primarily used for military recruitment. Through the five short movements, we are treated to various permutations of the verbunkos style featuring the clarinet in lieu of the traditional Hungarian tárogató. One of his most popular orchestral works, Kodaly’s commentary is as follows: “Galánta is a small Hungarian market town known to travelers between Vienna and Budapest. The composer passed seven years of his childhood there. At that time there existed a famous gypsy band that has since disappeared. This was the first ‘orchestral’ sonority that came to the ears of the child. The forebears of these gypsies were already known more than a hundred years ago. About 1800 some books of Hungarian dances were published in Vienna, one of which contained music ‘after several Gypsies from Galánta.’ They have preserved the old traditions. In order to keep it alive, the composer has taken his principal themes from these old publications.”

Music Without Borders 9

BORN: December 16, 1882 in Kecskemét, Hungary DIED: March 6, 1967 in Budapest, Hungary Dances of Galánta FIRST PERFORMANCE October 23, 1933 Commissioned for the Budapest Philharmonic’s 80th anniversary conducted by Ernst Von Dohnányi LO PREMIERE December 10, 1971 Gabor Otvos conducting MOST RECENT LO PERFORMANCE September 7, 2006 David Lockington conducting SCORING 2 flutes 2 oboes 2 clarinets 2 bassoons 4 horns 2 trumpets Timpani Percussion Strings PERFORMANCE TIME Approximately 19 minutes

STATS

Lev “Ljova” Zhurbin

1933

Kodály - Dances of Galánta

1967

Kodály dies

Franklin D. Roosevelt inaugural speech “the only thing we have to fear is fear itself”

March 1933

Stravinsky dies

1971

KLEZMER – VESSELS OF SONG

BORN: August 18, 1978 in Moscow, Russia

Klezmer Tanz Suite FIRST PERFORMANCE 2014 Detroit Symphony Orchestra LO PREMIERE October 23, 2014 Teddy Abrams conducting SCORING 1 flute 1 oboe 2 clarinets 1 bassoon 2 trumpets 1 trombone Drum set Piano Strings PERFORMANCE TIME Approximately 7 minutes

Klezmer is a musical genre, primarily dance music, of the Ashkenazi Jews of Eastern Europe. While it is believed that the roots of this music date back to ancient history, there is very little written about klezmer until the 15th century (as it was an aural tradition, this was not unusual). The musicians (klezmorim) were well versed in not only traditional folk music but also became a melting pot as they travelled throughout Europe picking up styles from groups like the Romani/gypsies. Although klezmer is secular music (played at weddings and special occasions), much of this instrumental music was drawn from the vocal music in synagogue; in particular the voice of the cantor. Instruments like the violin and the clarinet began to imitate the vocal lines of the cantor, hence their very unique sound in this musical genre.

When these Yiddish speaking Jewish immigrants came to the United Stated in the late 19th and early 20th centuries, they brought klezmer with them. Once in the U.S., the klemorim were greatly influenced by American jazz. And classical Jewish composers like Mahler, Gershwin and Bernstein infused some of their works with music from their youth – many believe that the opening clarinet glissando from Gershwin’s Rhapsody in Blue is a reference to the clarinet style in klezmer.

Broadway and Hollywood also took notice. Fiddler on the Roof, Schindler’s List and Prince of Egypt are just a few of the shows, movies and soundtrack scores featuring elements of klezmer. Today, award winning artists like Itzhak Perlman and the Klezmatics continue to expand the repertoire and the reach of klezmer.

Notes from the Composer “The Klezmer Tanz Suite is a medley of three compositions -- the first is a Zhok -- a gentle dance in 3/8 time, most likely from Bessarabia, an Eastern European region now on the territory of Moldova & Ukraine. The second is “Zeydn’s Tants”, a composition by Dave Tarras, the legendary Ukrainian clarinetist, who immigrated to New York in 1921 and thrived in the burgeoning Klezmer scene. The final piece is an original composition of mine, “Budget Bulgar” - it was sketched at a wedding reception in New Jersey, and is homage to a contemporary giant of Klezmer music, the pianist Pete Sokolow. This Suite was commissioned by the Detroit Symphony Orchestra through the Cohn-Haddow Center for Judaic Studies at Wayne State University.”

10 Louisville Orchestra

1978

Zhurbin born (Moscow, Russia)

Aug. 2014

NASA’s New Horizons spacecraft will cross the orbit of Neptune on its way to study Pluto

STATS

Igor Stravinsky

Zhurbin - Klezmer Tanz Suite commissioned by Teddy Abrams and the Detroit Symphony Orchestra

2014 A RUSSIAN IN PARIS Collaboration can spark true genius – take as an example the partnership between composer Igor Stravinsky and impresario Sergei Diaghilev. Between 1910 and 1913, these men would produce three ballets that would change the world of dance and music. Perhaps it was inevitable that the paths of these two men would intersect. Both attended university in St. Petersburg, and studied with famed Russian composer Nikolai Rimsky-Korsakov. In 1909, Diaghilev formed the ballet company that would become the Ballets Russes. That same year, Diaghilev attended a concert in Saint Petersburg that featured two works by Stravinsky; Feu d’artifice (Fireworks) and Scherzo fantastique. Diaghilev was impressed and asked Stravinsky to orchestrate select works by Chopin for his company followed by the commission to create a full length ballet, L’oiseu de feu (The Firebird). In addition to Stravinsky, Diaghilev recruited choreographer Michel Fokine, designer Léon Bakst and dancer Vaslav Nijinsky. The team worked to prepare The Firebird for the June 25, 1910 premiere as part of the new Ballets Russes season in Paris. The result was a smashing success that thrust the 28 year old composer and the rest of the creative team into the Paris limelight. This success was followed in 1911 with Petrushka and the notorious 1913 The Rite of Spring.

The story itself stems from several Slavic fairy tales about the mythical firebird. In this version, Prince Ivan encounters the firebird (half woman, half bird) while in the magical realm of Katschei the Immortal (the villain of the story). He captures her and in return for her release, the firebird agrees to assist the Prince in his quest. He falls in love with one of the thirteen princesses held captive by Katschei. Ivan approaches Katschei about marrying her but the talks dissolve and Katschei sends all of his magical creatures after Ivan. The firebird intervenes and bewitches the magical creatures to begin dancing (the Infernal Dance). The firebird reveals to Ivan that Katschei’s soul is kept in a magical egg and that if destroyed, Katschei will die. Ivan finds and destroys the egg, releasing all of the magical creatures and princesses from Katschei’s spell. And they all (except Katschei) live happily ever after.

Stravinsky arranged three orchestral suites from the ballet music of The Firebird with the most popular in 1919. The Firebird: Suite 1919 is divided into five movements, opening with the somber introduction into the dark world of Katschei transitioning into the brilliant music of the firebird. The second movement is The Princesses’ Khorovod (dance of the Golden Apples by the thirteen princesses). The third movement is the Infernal Dance of Katschei followed by the fourth movement Berceuse (lullaby).

The fifth movement is the finale and brings to a glorious close the tale of the Firebird.

When reimagining the Fantasia for a new audience, the team at Walt Disney decided to feature an abridged version of The Firebird: Suite 1919 in Fantasia 2000. The segment opens with the elk companion and the Spring Sprite as she brings life back the forest. She accidentally awakens the Firebird (in this instance, the spirit of the volcano) that destroys the forest. She survives and with the elk, ultimately brings life back to the entire forest.

BORN: June 17, 1882 in Oranienbaum, Russia outside of St. Petersburg DIED: April 6, 1971 in New York City, NY The Firebird: Suite 1919 FIRST PERFORMANCE June 25, 1910 in Paris for Sergei Diaghilev’s Ballets Russes Gabriel Pierné conducting LO PREMIERE November 1, 1952 Robert Whitney conducting MOST RECENT LO PERFORMANCE May 22, 2003 (entire suite) Uriel Segal conducting SCORING 2 Flutes (2nd also Piccolo) 2 Oboes (2nd also English Horn) 2 Clarinets 2 Bassoons 4 Horns 2 Trumpets 3 Trombones Tuba Timpani Percussion Harp Piano Strings PERFORMANCE TIME Approximately 22 minutes

Music Without Borders 11

UPCOMING EVENTS AT THE LOUISVILLE ORCHESTRA LEARN MORE ABOUT IT If you’d like to learn more about the music you have heard in our Music without Borders Series, here are some ideas to get you started (including more opportunities to hear the Louisville Orchestra play more music from these great composers).

Ravel

Mother Goose Suite on January 16, 2015 conducted by Jorge Mester Ravel, Man and Musician and A Ravel Reader (Dover Books on Music) by Arbie Orenstein

Beethoven

Beethoven’s Fifth on April 25, 2015 conducted by Teddy Abrams Beethoven: Anguish and Triumph

by Jan Swafford (published August 2014) Beethoven: The Man Revealed by John Suchet (published December 2013) Immortal Beloved starring Gary Oldman and Isabella Rossellini

Liszt

Carmina burana Treyton Oak Towers Coffee Concert Thu Oct 16 • 10:30am • Whitney Hall Hilliard Lyons Classics Fri Oct 17 • 8pm • Whitney Hall Teddy Abrams, conductor • Kent Hatteberg, chorusmaster Celena Shafer, soprano • Javier Abreu, tenor • Hugh Russell, baritone Ives The Unanswered Question arr. Abrams Medieval Dance from Carmina burana Tallis Spem in Alium Mozart Vesperae solennes de confessore V. “Laudate Dominum” Shaw Oculi Mei Kittel Big Fiddle Orff Carmina burana

“Satchmo” A Tribute to Louis Armstrong with Byron Stripling LG&E Pops Sat Oct 18 • 8pm • Whitney Hall Bob Bernhardt, conductor

With the passion and swagger of Louis Armstrong himself, acclaimed trumpeter/vocalist Byron Stripling headlines a fantastic program of Jazz and Swing.

Sibelius Violin Concerto Treyton Oak Towers Coffee Concert Thu Nov 6 • 10:30am • Whitney Hall Hilliard Lyons Classics Sat Nov 8 • 8pm • Whitney Hall Jorge Mester, conductor • Elmar Oliveira, violin

Franz Liszt: The Virtuoso Years, 1811-1847, Vol. 1

by Alan Walker (published 1988)

Sibelius Finlandia Sibelius Violin Concerto Mendelssohn Symphony No. 3 (Scottish)

An Artist’s Journey: Lettres d’un bachelier es musique, 1835-1841

by Franz Liszt

LOUISVILLE ORCHESTRA 2014 RAFFLE

Kodály

The International Kodály Society: http://www.iks.hu/

TICKETS $50 on sale now!

Zhurbin

Lev “Ljova” Zhurbin’s website: http://www.ljova.com/

Stravinsky

An Autobiography by Igor Stravinsky The Music of Stravinsky by Stephen Walsh (published in 1993)

For more on 20th century composers: The Rest is Noise; Listening to the Twentieth Century by Alex Ross (published in 2007)

FIRST PRIZE: First Class round trip for two to attend a concert of The New World Symphony under the baton of the Louisville Orchestra’s new Music Director, Teddy Abrams with soloist Joshua Bell at the Adrienne Arsht Center in Miami, FL on March 21, 2015.

Includes: • First class round trip airfare between Louisville and Miami.

• Two nights hotel accommodations at the Four Seasons Miami.

• Concert tickets and pre-concert dinner.

• Backstage Meet and Greet with Teddy Abrams following the concert.

SECOND PRIZE: Four concert Choose Your Own Subscription to the Louisville Orchestra with a $100 gift certificate for dinner at Vincenzo’s THIRD PRIZE: $100 gift certificate for Louisville Orchestra performance in 2014-2015 season.

Visit table in the Lobby or Call 502-585-9433

Commonwealth of Kentucky Charitable Gaming License #0988.

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Teddy Abrams, Music Director, Mary and Barry Bingham, Sr., Music Director Chair Jorge Mester, Music Director Emeritus Bob Bernhardt, Principal Pops Conductor Jason Seber, Education and Outreach Conductor FIRST VIOLIN Michael Davis, Concertmaster Fanny and Charles Horner Concertmaster Chair Caitlin Kelley, Interim Assistant Concertmaster National City Bank Chair Katheryn S. Ohkubo Cheri Lyon Kelley Mrs. John H. Clay Chair Stephen Taylor Clayton Pusateri Chair, Endowed

by Joe and Vickie Pusateri Scott Staidle Nancy Staidle Barbara Meek Patricia Fong Open Tamara Meinecke * SECOND VIOLIN Robert Simonds, Principal Claire and Lee Lenkoff Chair Devonie Freeman Mary Catherine Klan Violin Chair, Endowed by Chase Elisa Spalding Kimberly Tichenor, Acting Assistant Principal Charles Brestel Patricia Ann Jenkins Endowed Chair Heidi Tracy Judy Pease Wilson Blaise Hayden Smith Clinton Grosz VIOLA Jack Griffin, Principal Aegon Chair Evan Vicic, Assistant Principal Jacqueline R. and Theodore S. Rosky Chair Clara Markham Mr. and Mrs. Charles W. Hebel, Jr. Chair Jennifer Shackleton Jonathan Mueller Virginia Kershner Schneider Viola Chair, Endowed in Honor of Emilie Strong Smith by an Anonymous Donor Meghan Casper

CELLO Nicholas Finch, Principal Thomas Mattingly and Anita Grenough Abell Memorial Chair Joseph Caruso, Assistant Principal Carole C. Birkhead Chair, Endowed by Dr. Ben M. Birkhead Christina Hinton Dr. Edward Leo Callahan Chair Allison B. Olsen Frances Shapiro-Weitzenhoffer Chair, Endowed by Esther & Dr. David Shapiro Deborah Caruso Julia Preston BASS Bert Witzel, Principal Patricia Docs, Acting Assistant Principal Robert Docs Karl Olsen Jarrett Fankhauser Chair, Endowed by the Paul Ogle Foundation Michael Chmilewski FLUTE Kathleen Karr, Principal Elaine Klein Chair Donald Gottlieb Philip M. Lanier Chair PICCOLO Donald Gottlieb Alvis R. Hambrick Chair OBOE Jennifer Potochnic, Principal Betty Arrasmith Chair, Endowed by the Association of the Louisville Orchestra Trevor Johnson, Assistant Principal Edgar J. Hinson III Chair ENGLISH HORN Trevor Johnson CLARINET Andrea Levine, Principal Brown-Forman Corp. Chair Ernest Gross Kate H. and Julian P. Van Winkle, Jr. Chair BASS CLARINET Ernest Gross General Dillman A. Rash Chair Music Without Borders 13

BASSOON Matthew Karr, Principal Paul D. McDowell Chair Christopher Reid § HORN Jon Gustely, Principal Edith S. and Barry Bingham, Jr. Chair Stephen Causey, Assistant Principal Diana Wade Morgen Gary and Sue Russell Chair Bruce Heim § TRUMPET J. Jerome Amend, Principal Leon Rapier Chair, Endowed by the Musicians of the Louisville Orchestra James Recktenwald, Assistant Principal Lynne A. Redgrave Chair Daniel Kassteen TROMBONE Donna Parkes, Principal PNC Bank, Kentucky, Inc. Chair Brett Shuster § BASS TROMBONE Raymond Horton TUBA John DiCesare, Principal TIMPANI Jim Rago, Principal Mr. and Mrs. Warwick Dudley Musson Principal Timpani Chair PERCUSSION John Pedroja, Principal Mark Tate § HARP Mary Julian Rapier, Principal The Humana Foundation Chair KEYBOARD Grace Baugh-Bennett § Margaret S. Comstock Piano Chair * Musician On Leave § Auxiliary Musician

Louisville Orchestra Contributors The Louisville Orchestra gratefully acknowledges the following donors of record for the period September 30, 2013 through September 30, 2014

$250,000 + Founders Circle Christina Lee Brown

Mr. and Mrs. Joseph E. Shiprek Mr. and Mrs. Kevin Wardell Mr. and Mrs. Joseph Hays Wimsatt Mr. and Dr. Robert Wimsatt Dr. Shiao Y. Woo and John H. Shaw-Woo Anonymous

$100,000 - $249,999 Virtuoso Circle Mr. and Mrs. David A. Jones, Sr. Association of the Louisville Orchestra $75,000 - $99,999 Maestro Circle $25,000 - $74,999 Platinum Baton Guild Brooke and Matthew Barzun Mr. Owsley Brown, III Mr. and Mrs. George S. Gibbs, III Augusta and Gill Holland John and Ingrid Johnson Mr. Todd P. Lowe and Ms. Fran C. Ratterman Mr. and Mrs. Gary M. Russell Mr. and Mrs. James S. Welch, Jr. $15,000 - $24,999 Gold Baton Guild Bob and Nora Bernhardt Mr. and Mrs. Charles W. Hebel, Jr. Mr. and Mrs. James O. King Estate of Mrs. S. Arnold Lynch Mr. and Mrs. Guy Montgomery Mr. and Mrs. Warwick Musson Mrs. Jane Feltus Welch Dr. and Mrs. Richard Wolf $10,000 - $14,999 Sterling Baton Guild Mrs. Kendra D. Foster and Mr. Turney P. Berry Mr. David A. Jones, Jr. and Mrs. Mary Gwen Wheeler Dr. Virginia Keeney Mr. John E. King Mr. Joseph A. Paradis, III Mr. and Mrs. Bruce J. Roth Mrs. Denise Schiller $5,000 - $9,999 Bronze Baton Guild Mr. and Mrs. Steve Bailey Mrs. Edith S. Bingham Mr. and Mrs. David C. Daulton Mrs. Elizabeth W. Davis Dr. and Mrs. Charles E. Dobbs Mr. and Mrs. Thomas E. Dunham Mr. and Mrs. Vincenzo Gabriele Mrs. Thelma Gault Mr. and Mrs. John S. Greenebaum Frank and Paula Harshaw Mr. Robert B. Horner Don and Ann Kohler Mr. and Mrs. Bill Lamb Mr. and Mrs. Arthur J. Lerman General Dillman Rash Fund Mr. and Mrs. Robert W. Rounsavall, III Rev. Alfred R. Shands, III

$3,000 - $4,999 Conductor’s Patron Frank Abell Fund Dr. Frederick Albrink Mrs. Janice Purcell-Basu and Mr. Joy Basu Mr. William F. Burbank Ms. Laura Douglas Mr. and Mrs. Donald Finney Mr. and Mrs. Andrew Fleischman Mr. and Mrs. Owen C. Hardy Mr. and Mrs. Jay D. Harris Mr. and Mrs. Willis W. Hobson Mr. Anthony Kern Mr. and Mrs. John Malloy Andrew Kipe and Norman Morse Dr. and Mrs. Joseph E. Kutz Mr. and Mrs. David Laird Mr. and Mrs. Tom Partridge Mr. and Mrs. Norman Pfau Mr. and Mrs. John Smart Woodrow M. and Florence G. Strickler Fund $1,500 - $2,999 Concertmaster Patron Mr. and Mrs. Irving W. Bailey, II Ms. Elizabeth M. Bernstrom Ms. Ruth Brinkley Mrs. Evelyn T. Cohn David and Cynthia Collier Mrs. John G. Dietrich Ms. Gayle A. DeMersseman Dr. and Mrs. Christopher Doane Mr. and Mrs. William L. Ellison, Jr. Dr. Vilma Fabre Mr. and Mrs. Randall Fox Mr. and Mrs. Erik Furlan Mr. and Mrs. John R. Gregory Mr. and Mrs. Matthew Hamel Mrs. Barbara B. Hardy Dr. Susan J. Herlin Mr. Robert E. Kulp, Jr. Mrs. Philip Lanier Dr. Eugene March and Dr. Lynn Gant March Mrs. Carolyn Marlowe Ms. Mary Means Mr. and Mrs. Richard W. Morgen Mr. and Mrs. Fred Pirman Mrs. David Potter Mr. and Mrs. David Ray Kenneth and Beulah Rogers Mr. Michael Rudd Mr. and Mrs. Kenneth L. Sales Reverend Edward W. Schadt Mr. and Mrs. Robert Steen Mr. Edward Stopher

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Dr. Gordon D. Strauss and Dr. Catherine Newton Mr. and Mrs. Michael Von Hoven Mr. and Mrs. Robert Whayne Mrs. Mary Ellen Wiederwohl and Mr. Joel Morris Anonymous $500 - $1,499 Player’s Patron Dr. and Mrs. James Appleberry Dr. and Mrs. Joe F. Arterberry Ms. Susan H Baker Mr. and Mrs. Thomas H. Barton Ms. Lynne Baur Mrs. Mary J. Beale Mr. and Mrs. William D. Beaven Reverend and Mrs. Harlan Beckemeyer Mr. and Mrs. John T. Bondurant Dr. and Mrs. Lawrence H. Boram Mr. and Mrs. Steven Breckner Dr. and Mrs. Paul Brink Mr. and Mrs. Gary Buhrow Mr. and Mrs. William P. Carrell Lindy Casebier June Allan Creek Mr. and Mrs. Gordon B. Davidson Dr. and Mrs. John W. Derr, Jr. Ms. Judith Ann Dickson Mr. and Mrs. James M. Doyle Mr. and Mrs. George F. Duthie Rev. John G. Eifler Mrs. Jean W. Frazier Dr. Margaret Fonda Mr. and Mrs. Sheldon G. Gilman Mr. Don J. Glaser Ms. Mary Louise Gorman Dr. and Mrs. Laman A. Gray Ms. June Hampe Mr. and Mrs. William Hancock Mr. and Mrs. Spencer E. Harper, Jr. Mr. Carl Helmich Dr. George H. Herbener Dr. Frederick Hilton Mr. and Mrs. Paul Hollingsworth Mr. and Mrs. David Hyslop Mr. and Mrs. Breck Jones Mr. and Mrs. Daniel N. Klinck Dr. and Mrs. Forrest. Kuhn Mr. and Mrs. Karl D. Kuiper Mr. Michael Kusmanbarr Mr. and Mrs. Lewis Lancaster Mrs. Helen Lang Mr. and Mrs. Samuel M. Levine Dr. Daniel McAninch Tonya and Steve McSorley Cantor David Lipp and Rabbi Laura Metzger Ms. Julie Morton Mr. and Mrs. Ken Loomis Mrs. Eileene J. MacFalls Mr. and Mrs. Stewart McCombs Mrs. Virginia MacKin

Mr. and Mrs. Robert Montgomery Ms. June E. Morris Mr. and Mrs. Ronald J. Murphy Dr. and Mrs. Alton E. Neurath, Jr. Dr. and Mrs. David H. Neustadt Mr. and Mrs. Edwin Olliges Mr. and Mrs. Anthony Passafiume Mrs. William P. Peak Ms. Kathleen Pellegrino Mr. and Mrs. John Pohl Charlie and Carol Pye Mr. Stephen Reinhardt Dr. John Roberts Kenneth and Beulah Rogers Mr. and Mrs. Theodore S. Rosky Dr. and Mrs. William M. Schreiber Ms. Alleine Schroyens Ms. Tamina Singh Dr. Arthur J. Slavin and Mrs. Inger J. Slavin Dr. Janet L. Smith Mrs. Carole Snyder Dr. and Mrs. Paul E. Tipton Mrs. Rose Mary Toebbe Mr. and Mrs. James R. Voyles Mr. and Mrs. William W. Weber Mr. and Mrs. Orme Wilson Mrs. Evelyn C. Wolford $250 - $499 Patron Ms. Mary Kay Ballard Ms. Susan Barry Ms. Pamela Blair Dr. and Norbert Burzynski Mrs. Kathryn D. Christopherson Ms. Caroline Christian Ms. Faith Cirre Mr. and Mrs. George F. Coleman Mrs. Richard L. Conklin Mr. and Mrs. Arthur O. Cromer Mr. and Mrs. Leonidas D. Deters, Jr. Ms. Susan Ellison Mr. Walter Feibes Mr. and Mrs. Clyde Foshee Mr. Ed Garber Ms. Christine Gault Dr. and Mrs. Lawrence Gettleman Dr. Mary Harty Mr. Marc T. Haynes Ms. Mi Rye Hwang Dr. Arthur Isaacs and Ms. Joyce Loeser Ms. Margie Kommor Mr. and Mrs. Alan L. Kunkel Dr. and Mrs. Allan Lansing Dr. and Mrs. Leonard Leight Ms. Nancy Marnett Ms. Joanne Milo schroyMr. Charles Moore Mrs. Robert Nash Dr. Naomi J. Oliphant Ms. Donna Peak Ms. Joan Pike

Mr. and Mrs. Julius E. Raith Mr. and Mrs. Robert Reed Mr. and Mrs. Mark Richardson Dr. Kay Roberts Ms. Eleanor R. Robins Mr. and Mrs. Michael Ryan Mr. and Mrs. E. Halsey Sandford Mr. and Mrs. David C. Scott Brandon and Courtney Schadt Cary Shields Mr. and Mrs. John Sinai Mr. and Mrs. Richard E. Smith Mr. and Mrs. Donald L. Sodrel Mr. Richard Stephan Dr. Gerald F. Sturgeon and Dr. Patricia Sturgeon Mrs. & Mr. Kathleen Towsley Ms. Zada Wagaman Mr. and Mrs. Ronald M. Walford Ms. Patricia Walker Mr. Dennis Walsh Mr. and Mrs. William Walsh, III Mr. and Mrs. John H. Welch Ms. Maria L. Whittington Mr. and Mrs. Raleigh K. Wilson Mrs. Susan H. Wilburn Mr. James I. Wimsatt and Ms. Rebecca S. Beal Dr. John C. Wright and Dr. Kay Roberts Ms. Susan Zepeda and Dr. Fred Seifer ROBERT S. WHITNEY LEGACY SOCIETY Individuals who have generously made estate plans for the Louisville Orchestra.

Ms. Doris L. Anderson Mr. and Mrs. Stanley L. Crump Mrs. Janet R. Dakan William J. Ehrig Don J. Glaser Anita Ades Goldin Mr. and Mrs. Charles W. Hebel, Jr. Carl E. Langenhop Mrs. Philip Lanier Mr. and Mrs. Arthur J. Lerman Dr. Naomi J. Oliphant Mr. Paul R. Paletti, Jr. Rev. Edward W. Schadt Estate of Louise Tachau Schulman Mr. and Mrs. Douglas Summers, Jr. Dr. Peter Tanguay and Margaret Fife Tanguay Tanguay Rose Mary Rommel Toebbe Dr. and Mrs. Richard S. Wolf Anonymous MATCHING GIFTS Dow Corning for Edward Sprague General Electric for Walter and Maud Baker, Filomena Farley, Theodore Groene, Diane Aprile Hoosel, Jacquelyn B. Metzler, Richard and Louise Prycha, Mr. and Mrs. K. C.

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Reifsteck, J. and Carol Rosenkrans, Kim Shapiro and Gerald Wells Kindred Healthcare for Ms. Barbara Baylis YUM! Brands, Inc. for Gary and Virginia Buhrow COMMUNITY PARTNERS Axxis Colonial Designs of St. Matthews Gohmann Asphalt & Construction Jefferson County Public Schools Leap Frog Interactive, Inc. Louisville Public Media O’Neil Arnold Photography Phoenix Lighting and Sound Psi Iota Xi National Sorority, Inc. Psi Iota Xi Sorority, Zeta Iota Chapter SCH Realty Strothman & Company PSC Thrifty Car and Truck Rental Vincenzo’s Vintage Printing The Voice-Tribune WDRB Fox 41 FOUNDATION PARTNERS Barr Foundation The Clifton Foundation Irvin F. and Alice S. Etscorn Foundation Fiddlehead Fund Gheens Foundation Paradis Foundation RLR Charitable Foundation Louis T. Roth Foundation Lyndon and Helen Schmid Charitable Foundation Arthur K. Smith Family Foundation Sutherland Foundation William M. Wood Foundation Wimsatt Family Foundation LOUISVILLE ORCHESTRA PARTNERSHIP IN ARTS AND CULTURE 211 Clover Lane Corbett’s: An American Place Le Relais Porcini Restaurant U of L Physicians Group The Village Anchor Vincenzo’s Italian Restaurant

16 Louisville Orchestra