Tuesday Musical 2018-2019 Season by Live Publishing

Calidore String Quartet with Inon Barnatan, piano Tuesday, January 22, 2019

Lawrence Brownlee, tenor Eric Owens, bass baritone Tuesday, February 12, 2019

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Up next—Tuesday Musical’s MainStage series presents Russian Mastery Chamber Music Society of Lincoln Center Tuesday, March 12, at 7:30 p.m. EJ Thomas Hall Sergey Taneyev’s epic Piano Quintet — just now emerging into the mainstream of the most popular chamber music — anchors this program that affirms the composer’s mastery through the genius of his students Prokofiev and Rachmaninoff and reveals Taneyev’s roots in the music of his mentor Tchaikovsky.

World Premiere of Andrew Norman’s Quartet Escher String Quartet Thursday, March 28, at 7:30 p.m. EJ Thomas Hall With Tuesday Musical as the lead commissioner, rising star Andrew Norman is composing a new quartet for Escher. You can hear the world premiere on Akron’s EJ stage before audiences at Wigmore Hall in London, Lincoln Center, and the Aspen Music Festival. Escher and Tuesday Musical are in stellar company: Norman recently finished piano concertos for Emanuel Ax and Jeffrey Kahane, with upcoming projects including a symphony for the Los Angeles Philharmonic and collaborations with Jeremy Denk, Jennifer Koh, Johannes Moser, the Berlin Philharmonic, and the London Symphony.

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Chamber Music Society of Lincoln Center Russian Mastery Tuesday, March 12

Escher String Quartet Premiere of Andrew Norman quartet

Thursday, March 28

For Lenny Celebrate Leonard Bernstein’s 100th birthday with pianist Lara Downes

Thursday, April 18

7:30 p.m. | Akron’s EJ Thomas Hall tuesdaymusical.org | (330) 761-3460 6

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EJ Thomas Performing Arts Hall—The University of Akron Tuesday, January 22, 2019, 7:30 p.m.

Calidore String Quartet Jeffrey Myers and Ryan Meehan, violins Jeremy Berry, viola • Estelle Choi, cello with Inon Barnatan, piano J.S. Bach Selections from The Art of Fugue, BWV. 1080 (1685 - 1750) Contrapunctus 1 Contrapunctus 2 Contrapunctus 4 Contrapunctus 8 Contrapunctus 9 Canon alla Ottava Contrapunctus 14 Calidore String Quartet J.S. Bach Concerto in D minor, BWV. 1052 Allegro Adagio Allegro

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J.S. Bach Concerto No. 7 in G minor, BWV. 1058 (no tempo marking) Andante Allegro assai J.S. Bach Concerto No. 4 in A Major, BWV. 1055 Allegro Larghetto Allegro ma non troppo J.S. Bach Concerto No. 5 in F minor, BWV. 1056 (no tempo marking) Largo Presto Colton Foster led our Concert Conversation with tonight’s musicians. Presented at 6:30 p.m. before MainStage concerts, Concert Conversations aim to entertain, educate and engage our audience members. We hope to see you at the next one! Inon Barnatan performs on Tuesday Musical’s Three Graces Steinway D Piano this evening.

Among Tuesday Musical’s season supporters:

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The Artists

Calidore String Quartet Jeffrey Myers, violin Ryan Meehan, violin Jeremy Berry, viola Estelle Choi, cello

he Calidore String Quartet has been praised by the New York Times for its “deep reserves of virtuosity and irrepressible dramatic instinct” and by the Los Angeles Times for its balance of “intellect and expression.” After their Kennedy Center debut the Washington Post proclaimed that “Four more individual musicians are unimaginable, yet these speak, breathe, think and feel as one…The grateful audience left enriched and, I suspect, a little more human than it arrived.” Calidore has enjoyed an impressive number of accolades, including its most recent award of the 2018 Avery Fisher Career Grant, and the 2017 Lincoln Center Emerging Artist Award. It made international headlines as the winner of the $100,000 Grand-Prize of the 2016 M-Prize International Chamber Music Competition, the largest prize for chamber music in the world. Also in 2016, the quartet became the first North American ensemble to win the Borletti-Buitoni Trust Fellowship and was named BBC Radio 3 New Generation Artists, an honor that brings with it recordings, international radio broadcasts and appearances in Britain’s most prominent venues and festivals. Formed in 2010 at the Colburn School in Los Angeles, the quartet has also received top 8

prizes in the ARD Munich, Fischoff, Coleman, Chesapeake and Hamburg competitions. The quartet regularly performs in prestigious venues such as Lincoln Center, Carnegie Hall, Kennedy Center, Wigmore Hall, Berlin Konzerthaus, Brussels BOZAR, Cologne Philharmonie, Seoul’s Kumho Arts Hall and at many significant festivals, including the BBC Proms, Verbier, Ravinia, Mostly Mozart, Music@ Menlo, Rheingau, East Neuk and Festspiele Mecklenburg-Vorpommern. Calidore has given world premieres of works by Caroline Shaw, Hannah Lash and Benjamin Dean Taylor and collaborated with Jean-Yves Thibaudet, Joshua Bell, David Shifrin, Inon Barnatan, Paul Coletti, David Finckel, Wu Han, Paul Neubauer, Ronald Leonard, Paul Watkins, and the Emerson and Ebéne Quartets, among others. The Calidore has studied closely with such luminaries as the Emerson Quartet, David Finckel, Andre Roy, Arnold Steinhardt, Günther Pichler, Guillaume Sutre, Paul Coletti, Ronald Leonard and the Quatuor Ebène. Resilience, the quartet’s debut album for Signum Records, including quartets by Mendelssohn, Prokofiev, Janácek and Golijov, was released in October 2018. Its other three commercial recordings include quartets by Tchaikovsky and Mendelssohn, recorded live in concert at the 2016 Music@Menlo Festival; Serenade: Music from the Great War, featuring music for String Quartet by Hindemith, Milhaud and Stravinsky, Ernst Toch and Jacques de la Presle on the French label Editions Hortus; and tuesdaymusical.org ■ 330.761.3460

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the quartet’s February 2015 debut recording of quartets by Mendelssohn and Haydn for which Gramophone dubbed the Calidore String Quartet “the epitome of confidence and finesse.” Calidore was featured as Young Artistsin-Residence on American Public Media’s Performance Today and its performances have been broadcast on National Public Radio, BBC, Canadian Broadcasting Corporation, SiriusXM Satellite Radio, Korean Broadcasting Corporation, Bayerischer Rundfunk (Munich), Norddeutscher Rundfunk (Hamburg), and were featured on German national television as part of a documentary

produced by ARD public broadcasting. As a passionate supporter of music education, the Calidore String Quartet is committed to mentoring and educating young musicians, students and audiences. The Calidore serves as visiting guest artists at the University of Delaware School of Music and has conducted master classes and residencies at Princeton, Stanford, the University of Michigan, Stony Brook University and UCLA. Using an amalgamation of “California” and “doré” (French for “golden”), the ensemble’s name represents a reverence for the diversity of culture and the strong support it received from its home of origin, Los Angeles, California, the “golden state.”

Inon Barnatan, piano

“O MARCO BORGGREVE

ne of the most admired pianists of his generation” (New York Times), Inon Barnatan is celebrated for his poetic sensibility, musical intelligence, and consummate artistry. He is the recipient of both a prestigious 2009 Avery Fisher Career Grant and Lincoln Center’s 2015 Martin E. Segal Award, which recognizes “young artists of exceptional accomplishment.”

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The Artists He was recently named the new Music Director of the La Jolla Music Society Summerfest, beginning in 2019. A regular soloist with many of the world’s foremost orchestras and conductors, the Israeli pianist recently served three seasons as the inaugural Artist-in-Association of the New York Philharmonic. This season he plays Beethoven with Hamburg’s Elbphilharmonie Orchestra led by Alan Gilbert, Mozart with the Australian Chamber Orchestra in New York’s Alice Tully Hall, and Rachmaninov with the Pittsburgh Symphony and Israel Philharmonic, again led by Gilbert. In recent seasons he debuted at the BBC Proms, with the London and Helsinki Philharmonics, and with the Chicago, Baltimore, Fort Worth, Indianapolis, Nashville, San Diego, and Seattle Symphonies. Also a sought-after chamber musician, this season Barnatan is collaborating with the Dover, Calidore, and St. Lawrence String Quartets, performing with the latter in Carnegie Hall, and tours the U.S. and Europe with his frequent collaborator, cellist Alisa Weilerstein, along with violinist Sergey Khachatryan and percussionist Colin Currie. He makes his recital debut in the

International Piano Series at London’s Southbank Centre, and plays additional recitals in the Seattle Symphony’s Benaroya Hall and Boston’s Celebrity Series, where he has been appearing in various configurations since 2008. His passion for contemporary music has seen him commission and perform many works by living composers, including premieres of pieces by Thomas Adès, Sebastian Currier, Avner Dorman, Alan Fletcher, Joseph Hallman, Alasdair Nicolson, Andrew Norman, and Matthias Pintscher. “A born Schubertian” (Gramophone), Barnatan’s critically acclaimed discography includes Avie and Bridge recordings of the Austrian composer’s solo piano works, as well as Darknesse Visible, which scored a coveted place on the New York Times’ “Best of 2012” list. His most recent release is a live recording of Messiaen’s 90-minute masterpiece Des canyons aux étoiles (“From the Canyons to the Stars”), in which he played the formidable solo piano part at the Santa Fe Chamber Music Festival. His 2015 Decca Classics release, Rachmaninov & Chopin: Cello Sonatas with Alisa Weilerstein, earned rave reviews on both sides of the Atlantic.

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Program Notes JOHANN SEBASTIAN BACH Piano Concerto in D minor, BWV 1052 and Piano Concerto in F minor, BWV 1056

ohann Sebastian Bach was born in Eisenach on March 21, 1685, and died in Leipzig on 28 July 1750. The Piano Concerto in D minor, BWV 1052 and the Concerto in F minor, BWV 1056, both took their present form in Bach’s Leipzig period, though precise details are lacking; both are reworkings of an earlier concertos, now lost. In addition to the solo keyboard, the scores calls for strings and continuo. The solo concerto was one of the highest developments of the “concerto principle”—the opposition and competition of musical forces—that is fundamental to Baroque style from the earliest concerted madrigals of Claudio Monteverdi (c. 1600) to the very end of the era and beyond, when it was adapted by Classical composers to new circumstances. The establishment of the concerto as a flexible and powerful genre in its own right was largely the work of Antonio Vivaldi, whose publications covered the continent of Europe and taught many composers, who had never made the journey to Venice (where they might have heard Vivaldi concertos on their home ground), exactly how the orchestral ritornello could serve to unify movements, first presenting the basic material, then recalling portions of it in different keys as the movement progresses, then finally restating the whole in the home key to conclude the process. Bach had been gripped by the frenzy of discovery when he encountered the Vivaldi concertos during his years in Weimar (1708-17), and he became a Vivaldi disciple through the close study of some of his works and the sincere flattery of imitation. Bach transcribed a number of Vivaldi’s works, changing violin concertos into keyboard concertos in the process, so that when he came to write his own original concertos, he had fully absorbed the latest style. During the Cöthen years (1717-23), Bach wrote many instrumental works, but no original keyboard concertos. He did compose the six Brandenburg Concertos, at least two of the expect great music

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orchestral suites, and concertos for one or two violins or for violin and oboe, and evidently some oboe concertos, now lost. We, of course, are very familiar with the notion of the piano concerto, and we may be surprised that Bach seems not to have thought of writing a keyboard concerto for Cöthen, if only to show off his own virtuosity. Yet the standard keyboard instrument of the time (the harpsichord) was usually used only in the background, filling out the textures in every kind of chamber music. The Brandenburg Concertos were part of an entirely different tradition, that of the ensemble concerto, or what a modern composer would call a “concerto for orchestra.” The fifth of these, though, is especially interesting in the present context, because we can almost perceive the birth of the new keyboard concerto right in the middle of the first movement, when the harpsichordist gradually usurps the listener’s attention and suddenly erupts in a brilliant solo cadenza. Only after writing the Fifth Brandenburg did Bach begin to compose solo keyboard concertos, and even then they were not usually new pieces, but rather new versions, for solo harpsichord, of concertos already composed for violin and other instruments. Why did Bach invent this new genre, and why did he suddenly compose a group of keyboard concertos in Leipzig in the 1730s? By this time he had been settled in Leipzig for nearly a decade. During the first years he had been totally immersed in producing the large amount of church music that his position required of him. But he became disillusioned when the city fathers, who controlled the purse strings, disregarded his pleas for money to provide more and better musicians in the Leipzig churches. So he began to look elsewhere for musical satisfaction. One source of such activity was the collegium musicum, a free association of professional musicians and university students that had been founded by Telemann in 1704. Bach took over its direction in 1729 and retained it, with one interruption, until 1741. He may even have continued to perform occasionally until it went out of existence in 1744, following the 11

Program Notes death of the coffee-shop proprietor who was its organizer and landlord. The group gave weekly concerts during the year and even more frequent performances during the annual fair (Leipzig was then, and remains, a center for international commerce). It is clear that the seven surviving keyboard concertos for solo harpsichord, as well as those for more than one keyboard, were produced at this time, obviously to fill a pressing need for material. They no doubt also served as vehicles for Bach’s burgeoning family of talented musicians, some of who surely made their debuts in the coffeehouse concerts. The D minor Concerto almost certainly derives from a lost violin concerto of the Cöthen period. We can be sure of Bach’s authorship of the original because he used two of its movements (with organ solo) in his Cantata 146, composed for Easter sometime between 1726 and 1728. He used it again for the opening Sinfonia of his Cantata 188, composed for Trinity Sunday in 1728. In its final and only surviving form, this work exercised a powerful influence on the development of the keyboard concerto. The D minor Concerto is probably the best known of all of Bach’s keyboard concertos. The vigor and tensile strength of its opening ritornello is one of the most familiar passages in the composer’s entire output, and it generates an opening movement of great drive and panache. The very first measure provides most of the orchestral material for the movement, while the soloist’s interludes offer a wonderful range of virtuosic devices that Bach has imaginatively translated to the keyboard from the violinistic original. The Adagio provides the framework for a richly ornamented and sensitive aria in the keyboard part, while the final Allegro, based on a tiny motive of two sixteenth notes and an eighth note, is imbued throughout with a dance-like character. Various kinds of evidence suggest that the F minor Concerto was originally composed as a concerto for the oboe, in G minor. That work is now lost, though it has been reconstructed on the basis of the Keyboard Concerto and published for the delight of oboists. But the Keyboard Concerto survives in its own right, probably planned for a performance with the collegium musicum sometime in the 1730s. The soloist makes a cameo appearance even in the opening ritornello, with a little echo figure, a triplet turn. 12

The triplet idea dominates the soloist’s part, once it gets truly underway, and distinguishes it from the accompaniment, mostly in straight duplets. The slow movement gives the soloist a chance to sing in the most lyrical way with extended lines lavishly ornamented against the steady pizzicato of the strings. The Finale dances its way to the end. © Susan Halpern, 2019 Piano Concerto in G minor, BWV 1058

he piano concerto in G minor, BWV 1058, took its present form in Bach’s Liepzig period, probably in the 1730’s, but its substance goes back to the Cöthen years, 1717-1723, because it is a reworking of the A minor concerto for violin, BWV 1041. In either case, precise details of composition and first performance are lacking. In addition to the solo keyboard, the score calls for strings and continuo. Bach had been gripped by a frenzy of discovery when he encountered the Vivaldi concertos durng his years in Weimar (08-1717), and he became a Vivaldi disciple through the close study of some of his works and the sincere flattery of imitation. During the Cöthen years Back wrote many instrumental works, but no original keyboard concertos. The standard keyboard instrument of the time (the harpsichord) was usually used only in the background, filling out the textures in every kind of chamber music. The Brandenburg concertos were part of an entirely different tradition, that of the ensemble concerto, or what a modern composer would call a “concerto for orchestra.: The fifth of these, though, especially interesting in the present context, because we can almost perceive the birth of the new keyboard concerto right in the middle of the first movement when the harpsichordist gradually usurps the listener’s attention and erupts into a brilliant solo cadenza. Only after writing the Fifth Brandenburg Concerto did Bach begin to compose solo keyboard concertos, and even then they were not usually new pieces, but rather new versions, for solo harpsichord, of concertos already composed for violin and other instruments. If the G minor Keyboard Concerto sounds familiar, there is a very good reason: it is a transcription of Bach’s much more familiar A minor Violin Concerto, BWV 1041. (when converting a violin concerto to a keyboard tuesdaymusical.org ■ 330.761.3460

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concerto, Bach always wrote it a whole step lower, so as to fit the entire solo line within the compass of the featured instrument.) Despite the influence of Vivaldi, Bach himself was an innovator in these concertos. By contrast to the sprightly E major Violin Concerto, the on is A minor (and its keyboard version) is richly somber, lyric, and somewhat statelier in tone. Even there, though, the prominent triplets in the opening ritornello already signal the decorative style of the galante that was beginning to lighten the steady rhythmic pulsation of the earlier Baroque music. Bash enlivens the traditional Vivaldian structure by allowing the orchestra to sneak in, here and there, during what would seem to be solo passages, thus partially concealing the distinction between “solo” and “tutti” passages. The chamber-music quality of the slow movement is sweetly lyric, while the finale, in a lively and lilting 9/8 time, flows in long, elegant lines that nonetheless express exuberant high spirits. © Susan Halpern, 2019 The Art of the Fugue, BWV 1080, selections

n the year after Johann Sebastian Bach died, some of his musician-sons published an anthology of fugues that had occupied him on and off during the last ten years of his life. More than a dozen pieces are included in the anthology entitled Die Kunst der Fugue or The Art of the Fugue. Each is called, in Latin, a contrapunctus, or “counterpoint,” which was how German theoreticians of that time referred to fugues. Bach planned the collection of works in the early 1740’s, began composing the pieces around 1745, and had completed most of them by about 1748. During the two remaining years of his life, blinded by cataracts and plagued by other ailments, he revised and polished the collection’s contents in preparation for publication. It was his final work; it followed the traditional usual practice in Germany for composers to write cumulative compositions in which they joined together the musical reflections and achievements of their career in one piece, which they saw as a sort of summation of their life’s work. The Art of the Fugue would qualify as one of those kinds of compositions for Bach; another was his The Musical Offering. The sequence in which the pieces finally appeared, and even the title of the publication, may have been his sons’ work, but Bach had sent some of the pieces to the engraver before expect great music

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Program Notes his death. His sons appended an additional unfinished massive fugue that combined in one all the complexities of four different fugues. As if to make up for the incomplete piece, the sons also added a grand contrapuntal treatment of a hymn melody that Bach had dictated when he felt death was near, the choral prelude “Before Thy Throne I Stand” (“Vor deinen Thron tret’ ich hiermit”). His sons explained in the preface to the published work that they appended this piece at the end “to compensate the friends of his muse,” for the unfinished closing fugue. Few copies were sold in 1751, the year after Bach’s death; as result, his sons reissued the work with a new cover and an introduction by a well-known expert (which is exactly what a publisher of our time might do) the following year. Part of the problem was that music itself was undergoing a radical change; contrapuntal style was then being used less and less frequently, while homophonic style, in particular the style galant, was employed more and more. (Style galant offered simplicity and an immediacy of appeal rather than the complexity of counterpoint, with simpler, more song-like melodies. Style galant was more suitable for the secular occasions that were growing in demand: these took the form of concerts in the ornate homes of nobility and in royal palaces.) Contrapuntal style had generally been in common use in religious settings as church music. Bach, aware of the growing, new trend, had felt that his compendium of fugues constituted “his last testament,” a valedictory to the fugue as it were, and monitored the copying of his The Art of the Fugue onto copper plates, ensuring that it would have the permanence a paper manuscript might lack; however, within five years, his sons had sold barely forty copies of the music. In great need of money, they disposed of the valuable copper printing plates as scrap metal. Posterity now regards this initially failed publication as a remarkable, priceless thesaurus of unmatched masterpieces in one of the highest, most complex and most difficult techniques or media or artistic expression. The Art of the Fugue is Bach at his most abstract and intellectual. For this compendium of contrapuntal techniques demonstrated in twenty increasingly complex fugues and canons, Bach, as was typical practice in his time, had left no indication of the instrument(s) intended to perform The Art of the Fugue. When scored 14

for several different instruments, listeners are aided in following distinct instrumental voices and lines and can more easily follow the fugue and canon structures including Bach’s inversions, tempo changes, more obscure harmonies and patterns. Over the centuries, performers have transcribed The Art of the Fugue for all kinds of combinations, from keyboard to orchestra. When the four lines are simply and directly transferred to a chamber orchestra as you hear them in this concert, the different timbres of the instruments highlight the contrasts between the interconnected lines. The first group of The Art of the Fugue is made up of four fugues. Contrapunctus I is a straightforward, serious fugue, serene and flowing in motion, based on the pure form of a single musical subject, a phrase of melody that at first seems to have no particular distinction but soon proves to lend itself to an invention, worked out in four voices. Contrapunctus II is based on the same theme as Contrapunctus I with a slight variation in rhythm at its end. This variation with its uneasy dotted rhythms gives the contrapunctus a spirited, jumping character. Contrapunctus No. IV is the most elaborate piece in this group of fugues. Again based on an inversion of the theme, it too has an upwardly striving motion. Two subsidiary motives are included: one, a descending two-note motive, has been likened to the call of a cuckoo; the other is a twisting chromatic line. The second fugue group includes three fugues, which include some of the more difficult techniques of contrapuntal writing. Contrapunctus VIII is a triple fugue (i.e. a fugue on three subjects) played by the violin, viola and cello. Each of the themes has a strong character and rich chromaticism. The first theme is a chromatically inflected variant of the inverted form of the original theme; the second theme is new and made up of a descending line with repeated notes; the third theme begins with short three-note phrases separated by rests. Samuel Baron, who arranged this work for woodwind quintet, commented, “Already in this piece, we feel the crumbling of the formal walls that surround our definition of fugue as an academic concept. We are plunged into the realm of the freest and most profound musical expression.” Contrapunctus IX is a double fugue and uses double counterpoint. Dramatic and rhythmic, it tuesdaymusical.org ■ 330.761.3460

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incorporates two variants of the principal theme, one a fast running-scale variant and the other, the original theme in long notes. The voices of the Contrapunctus XIV are separated by the interval of a tenth (an octave plus a third) for counterpoint that sounds like it is at the interval of a third. Canon alla Ottava (at the octave) is based on the inverted form of the subject. It is less complicated because its high voice consistently is the leader and the low voice the follower. It contains fugal use of the subject at the level of the dominant and at the tonic in contrary motion. Courtesy of the Aspen Music Festival and School Concerto No. 4, in A Major, for Harpsichord and Strings, BWV 1055

ach composed much of his instrumental ensemble music between 1717 and 1723, when he was in the service of Prince Leopold of AnhaltCöthen. Two violin concertos and a concerto for two violins that he wrote in Cöthen survive complete and in their original forms and also exist in later, altered versions, rewritten by Bach himself as harpsichord concertos. On the basis of this evidence, it was deduced that all his keyboard concertos were originally written for other instruments, as it was common practice at that time for composers to rework their own music. This concerto originated as a work for oboe d’amore, an alto oboe pitched a third below the oboe and a forerunner of the English horn. Concerto No. 4 could have been composed when Bach was about to leave the Court of Anhalt-Cöthen (at a time when he also wrote the Brandenburg Concertos), or perhaps even in his early days in Leipzig, to which he moved in 1723 to direct the music at Saint Thomas’s Church. From 1729 to 1736, he was also director of the Leipzig Collegium Musicum, which was founded in 1704 by the composer Georg Philipp Telemann (16811767). The Collegium, an organization of university students and professional and amateur musicians, met every Friday evening in the coffeehouse of Gottfried Zimmermann. These meetings were almost the first public concerts in the modern sense, events that attracted musicloving audiences and provided valuable professional experience for the musicians. Bach performed a great deal of his own music at Zimmermann’s; it was there that all his keyboard concertos were first performed. The idea of the harpsichord as solo instrument in an expect great music

ensemble, rather than as accompaniment, was a new one then. Bach more or less invented the keyboard concerto with the adaptations of the concertos he had written earlier for violin and other instruments. Most of the originals have been lost, but where they survive, we can clearly see that the music for the right hand comes from the original solo part, the left hand reinforces and embellishes the bass; sometimes middle voices are added. The adaptation for keyboard of this concerto is particularly sophisticated, which has led some music historians to posit that it was one of the last Bach arranged, drawing on experience he had gained in arranging concertos before this one. A likely explanation is that he adapted the earlier concertos into keyboard concerti to be played by the Collegium Musicum. Some physical evidence suggests that Concerto No. 4 in its keyboard form most likely dates from the years 1737-8, when Bach left the Collegium Musicum for two years, and that he may have prepared the keyboard arrangement to perform on his return there. The original manuscript of the oboe d’amore concerto is not extant but a later version is, and it

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shows that the score of the harpsichord concerto based on it has embellishments not in the oboe version but created to adapt the soloist’s line to the keyboard. Because Bach wrote more detail in the harpsichord part for the Concerto in A Major than he did in the other arranged concertos, it is assumed to be a somewhat more mature development of the composer’s ideas about this new medium. The Concerto follows the fastslowfast threemovement sequence established for this new kind of “modern” music by the Italian composers of Bach’s youth. The concerto is brief and compact with the soloist’s lines, in its initial cheery movement, Allegro, punctuated by a ritornello theme, a recurring section in the accompanying strings, in the new Italian style which alternates with the more elaborate harpsichord theme. The harpsichord occasionally reinforces the ritornello

theme but never actually plays it. Between the recurring passages of ritornelli, the keyboard solo develops another thematic figure. The middle movement Larghetto, is a richly ornamented and expressive aria-like creation, with sustained descending chromatic bass lines helping to intensify its effect. The exuberant finale, Allegro ma non tanto, is in high spirits like the first movement; it displays a flurry of 32nd notes in the keyboard, sounding somewhat improvisational, initially accompanied by a steady dance-like rhythm and later by slower triplets, allowing the music to alternate between the sense of two different speeds. Bach scored this concerto for solo keyboard, violins, viola, and basso continuo (comprised of cello and double bass). Courtesy of the Aspen Music Festival and School

For 130 years, Tuesday Musical has been an anchor arts organization for Akron and NE Ohio. You can help to continue this tradition of excellence for future generations by including Tuesday Musical in your estate plans and joining our 1887 Legacy Society. As a member of the 1887 Legacy Society, you will be recognized in our concert program books and invited to participate in special programs and events. You will also have the personal satisfaction of knowing that you have played a significant role in the continuing success of this remarkable organization. For more information, please contact Tuesday Musical at 330-761-3460 or info@tuesdaymusical.org.

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EJ Thomas Performing Arts Hall—The University of Akron Tuesday, February 12, 2019, 7:30 p.m.

Lawrence Brownlee, tenor, Eric Owens, bass-baritone Craig Terry, piano Non più andrai from Le Nozze di Figaro, Wolfgang Amadeus Mozart—Eric Owens Ah! mes amis, quel jour de fête! from La fille du regiment, Gaetano Donizetti—Lawrence Brownlee Infelice! E tuo credevi from Ernani, Giuseppe Verdi—Eric Owens Voglio dire, lo stupendo elisir from L’elisir d’amore, Gaetano Donizetti—Lawrence Brownlee, Eric Owens Una furtiva lagrima from L’elisir d’amore, Gaetano Donizetti—Lawrence Brownlee Le veau d’or from Faust, Charles Gounod—Eric Owens Je crois entendre encore from Les Pêcheurs de Perles, Georges Bizet—Lawrence Brownlee Au fond du temple saint from Les Pêcheurs de Perles, Georges Bizet—Lawrence Brownlee, Eric Owens INTERMISSION Traditional Spirituals All Night, All Day, arr. Damien Sneed—Lawrence Brownlee Deep River, arr. Hall Johnson—Eric Owens Come By Here, arr. Damien Sneed—Lawrence Brownlee Give Me Jesus, traditional—Eric Owens He’s Got the Whole World In His Hand, arr. Margaret Bonds/Craig Terry—Lawrence Brownlee, Eric Owens American Popular Songs Song of Songs, Harold Vicars and Clarence Lucas, arr. Craig Terry—Lawrence Brownlee, Eric Owens Lulu’s Back In Town, Harry Warren and Al Dubin, arr. Craig Terry—Lawrence Brownlee Dolores, Frank Loesser and Louis Alter, arr. Craig Terry—Lawrence Brownlee, Eric Owens Lollipops and Roses, Tony Velona—Eric Owens Through the Years, Vincent Youmans—Lawrence Brownlee, Eric Owens Gospel Favorites I Don’t Feel No Ways Tired—Lawrence Brownlee Peace Be Still—Eric Owens Every Time I Feel the Spirit—Lawrence Brownlee, Eric Owens Eric Kisch of WCLV-FM’s “Musical Passions” program led our Concert Conversation with tonight’s musicians. Presented at 6:30 p.m. before MainStage concerts, Concert Conversations aim to entertain, educate and engage our audience members. We hope to see you at the next one! Craig Terry performs on Tuesday Musical’s Three Graces Steinway D Piano this evening. This concert and related education/community engagement activities are presented with generous support from the Gertrude F. Orr Advised Fund of Akron Community Foundation and other contributors.

Among Tuesday Musical’s season supporters:

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The Artists Lawrence Brownlee, tenor

amed 2017 “Male Singer of the Year” by both the International Opera Awards and Bachtrack, American-born tenor Lawrence Brownlee has been hailed by The Guardian as “one of the world’s leading bel canto stars.” Mr. Brownlee captivates audiences and critics around the world, and his voice has been praised by NPR as “an instrument of great beauty and expression…perfectly suited to the early nineteenth century operas of Rossini and Donizetti,” ushering in “a new golden age in high male voices” (The New York Times). He also serves as Artistic Advisor at Opera Philadelphia, helping the company to expand its repertoire, diversity efforts and community initiatives. His 2018-19 season began with two evenings of duets with bass-baritone Eric Owens at the Van Cliburn Foundation, followed by a night of arias at Amsterdam’s famed Concertgebouw. Operatic engagements this season include two role debuts in North American houses, singing Nadir in Bizet’s The Pearl Fishers with Houston Grand Opera and Ilo in Rossini’s Zelmira with Washington Concert Opera, as well as returns to several international opera houses, performing in La Cenerentola at Opéra national de Paris, La sonnambula at Opernhaus Zürich and Deutsche Oper Berlin, and I Puritani at Opéra Royal de Wallonie-Liège. This season also features a 17-stop U.S. tour with bass-baritone Eric Owens performing at the Seattle Symphony, Philadelphia Chamber Music Society, Los Angeles Philharmonic, Akron’s EJ Thomas Performing Arts Hall for Tuesday Musical, and more, as well as a performance at Carnegie Hall in March 2019 with Jason Moran and Alicia Hall Moran as part of “Migrations: The Making of America — A Citywide Festival.” Highlights from last season included returns to the Royal Opera House - Covent Garden, Opernhaus Zürich, Lyric Opera of Chicago, Bayerische Staatsoper, and Opéra national de Paris, as well as the world premiere and recital tour of a new song cycle, Cycles of My Being. The cycle centers on what it means to be an African American man living in America today, touching on the recent series of tragic deaths and the Black Lives Matter movement, and was 18

composed by Tyshawn Sorey, with lyrics by Terrance Hayes, both of whom are MacArthur ‘Genius’ Grant Winners. Co-commissioned by Opera Philadelphia, Carnegie Hall, and Lyric Opera of Chicago’s Lyric Unlimited, Cycles of My Being had its world premiere in Philadelphia before moving on to Chicago, San Francisco, Carnegie Hall and more. The piece was hailed by the San Francisco Chronicle as “a work of both anguish and optimism, at once accusatory and stirring...whose traversal feels like a descent into a maelstrom followed by the emergence out the other side”, while the Chicago Tribune praised how “Sorey’s music allows Mr. Brownlee to do what he does best — to soar effortlessly into the vocal stratosphere, nail perfectly placed high notes and invest them with expressive meaning.” One of the most in-demand singers around the world, Mr. Brownlee has performed with nearly every leading international opera house and festival, SHERVIN LAINEZ as well as major orchestras including the Berlin Philharmonic, Philadelphia Orchestra, Chicago Symphony, New York Philharmonic, Accademia di Santa Cecilia, Boston Symphony, Cleveland Orchestra, San Francisco Symphony, and the Bayerische Rundfunk Orchestra. In addition, Mr. Brownlee has appeared on the stages of the top opera companies around the globe, including the Metropolitan Opera, Teatro alla Scala, the Bavarian State Opera, Royal Opera House - Covent Garden, The Vienna State Opera, Opéra national de Paris, Opernhaus Zürich, the Berlin State Opera, the Gran Teatre del Liceu Barcelona, Teatro Real Madrid, Théâtre Royale de la Monnaie, and the festivals of Salzburg and Baden Baden. Broadcasts of his operas and concerts—including his 2014 Bastille Day performance in Paris, attended by the French President and Prime Minister—have been enjoyed by millions. His latest album, Allegro Io Son, received a Critic’s Choice from Opera News, among numerous other accolades, and followed his previous Grammy-nominated release on Delos Records, Virtuoso Rossini Arias, which prompted New Yorker critic Alex Ross to ask “is there a finer Rossini tenor than Lawrence Brownlee?” The rest of his critically tuesdaymusical.org ■ 330.761.3460

tuesday musical 2018 | 2019

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The Artists acclaimed discography and videography is a testament to his broad impact across the classical music scene. His opera and concert recordings include Il barbiere di Siviglia with the Bayerische Rundfunk Orchestra, Armida at the Metropolitan Opera, Rossini’s Stabat Mater with Accademia di Santa Cecilia, and Carmina Burana with the Berlin Philharmonic. He also released a disc of AfricanAmerican spirituals entitled Spiritual Sketches with pianist Damien Sneed, which the pair performed at Lincoln Center’s American Songbook series, and which NPR praised as an album of “soulful singing” that “sounds like it’s coming straight from his heart to yours.” Mr. Brownlee is the fourth of six children and first discovered music when he learned to play

bass, drums, and piano at his family’s church in Youngstown, Ohio. He was awarded a Masters of Music from Indiana University and went on to win a Grand Prize in the 2001 Metropolitan Opera National Council auditions. Alongside his singing career, Mr. Brownlee is an avid salsa dancer and accomplished photographer, specializing in artist portraits of his on-stage colleagues. A die-hard Pittsburgh Steelers and Ohio State football fan, he has sung the National Anthem at numerous NFL games. He is a champion for autism awareness through the organization Autism Speaks, and a lifetime member of Kappa Alpha Psi fraternity Inc., a historically black fraternity committed to social action and empowerment.

Eric Owens, bass-baritone

Rossini’s Il Barbiere di Siviglia at Houston Grand Opera, and the Forester in Janácek’s The Cunning Little Vixen at the Glimmerglass Festival, where he served as Artist in Residence and Artistic Advisor. Concert appearances included Rossini’s Stabat Mater with the Chicago Symphony Orchestra conducted by Riccardo Muti, Verdi’s Requiem with both the National Symphony Orchestra led by Gianandrea Noseda and the DARIO ACOSTA Nashville Symphony Orchestra, and Mendelssohn’s Elijah with Music of the Baroque. The 2016-17 season featured Mr. Owens in his role debut as Wotan in David Pountney’s new production of Wagner’s Das Rheingold at the Lyric Opera of Chicago. He sang a trio of operas at the Metropolitan Opera that included the Met premiere of Kaijo Saariaho’s L’amour de Loin, a new production of Rusalka under Sir Mark Elder, and a revival of Idomeneo conducted by James Levine, all of which were broadcast through the Met’s Live in HD series. Concert highlights included joining Alan Gilbert and the New York Philharmonic for performances as Wotan in Das Rheingold and of Beethoven’s Ninth Symphony, which he also performed at the Cincinnati May Festival as its Artist in Residence, a gala celebrating the Metropolitan Opera’s Fiftieth Anniversary at Lincoln Center, and performances as Orest in Strauss’s Elektra at the Verbier Festival and Méphistophélès in Berlioz’s

ass-baritone Eric Owens has a unique reputation as an esteemed interpreter of classic works and a champion of new music. Equally at home in orchestral, recital, and operatic repertoire, he brings his powerful poise, expansive voice, and instinctive acting faculties to stages around the world. In the 2018-19 season, Mr. Owens returns to Lyric Opera of Chicago to make his role debut as the Wanderer in David Poutney’s new production of Wagner’s Siegfried. He also stars as Porgy in James Robinson’s new production of Porgy and Bess at the Dutch National Opera and makes his role debut as Hagen in Götterdämmerung at the Metropolitan Opera conducted by Philippe Jordan. Concert appearances include the world premiere of David Lang’s prisoner of the people at the New York Philharmonic conducted by Jaap van Zweden, the King in Aïda at the Chicago Symphony Orchestra conducted by Riccardo Muti, Verdi’s Requiem with the Minnesota Orchestra, and Mozart’s Requiem with Music of the Baroque. Tonight’s duo recital is part of a 17city tour with tenor Lawrence Brownlee. Mr. Owens launched the 2017-18 season with his role debut as Wotan in David Pountney’s new production of Wagner’s Die Walküre. He also sang Filippo II in Verdi’s Don Carlo at Washington National Opera, Don Basilio in

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La Damnation de Faust with the New Zealand Symphony Orchestra. He also gave a recital at the Cleveland Art Song Festival, performed dual recitals with Susanna Phillips at the Washington Performing Arts and Lawrence Brownlee at the Lyric Opera of Chicago and William Jewell College, and appeared with the Chicago Symphony’s Negaunee Music Institute to present an interactive recital for incarcerated youth alongside Riccardo Muti and Joyce DiDonato. Mr. Owens has created an uncommon niche for himself in the ever-growing body of contemporary opera works through his determined tackling of new and challenging roles. He received great critical acclaim for portraying the title role in the world premiere of Elliot Goldenthal’s Grendel with the Los Angeles Opera, and again at the Lincoln Center Festival, in a production directed and designed by Julie Taymor. He also enjoys a close association with John Adams, for whom he performed the role of General Leslie Groves in the world premiere of Doctor Atomic at the San Francisco Opera, and of the Storyteller in the world premiere of A Flowering Tree at Peter Sellars’s New Crowned Hope Festival in Vienna and later with the Los Angeles Philharmonic. Doctor Atomic was later recorded and received the 2012 Grammy for Best Opera Recording. He made his Boston Symphony Orchestra debut under the baton of David Robertson in Adam’s El Niño. Mr. Owens’s career operatic highlights include Alberich in the Metropolitan Opera’s Ring cycle directed by Robert Lepage; Orest in Patrice Chereau’s production of Elektra conducted by Esa-Pekka Salonen at the Met; the title role of Der Fliegende Höllander and Stephen Kumalo in Weill’s Lost in the Stairs at

Washington National Opera; his San Francisco Opera debut in Otello conducted by Donald Runnicles; his Royal Opera, Covent Garden, debut in Norma; Vodnik in Rusalka and Porgy in Porgy and Bess at Lyric Opera of Chicago; the title role in Handel’s Hercules with the Canadian Opera Company; Aida at Houston Grand Opera; Rigoletto, Il Trovatore, and La Bohème at Los Angeles Opera; Die Zauberflöte for his Paris Opera (Bastille) debut; the title role of Macbeth at the Glimmerglass Festival; and Ariodante and L’Incoronazione di Poppea at the English National Opera. He sang Collatinus in a highlyacclaimed Christopher Alden production of Britten’s The Rape of Lucretia at Glimmerglass Opera. A former member of the Houston Grand Opera Studio, Mr. Owens has sung Sarastro, Mephistopheles in Faust, Frère Laurent, and Aristotle Onassis in the world premiere of Jackie O (available on the Argo label) with that company. He is featured on the Nonesuch Records release of A Flowering Tree. Mr. Owens is an avid concert singer, who collaborates closely with conductors such as Alan Gilbert, Riccardo Muti, Esa-Pekka Salonen, Sir Simon Rattle, Donald Runnicles, and Franz Welser-Möst. He has been recognized with multiple honors, including the Musical America’s 2017 “Vocalist of the Year” award, 2003 Marian Anderson Award, a 1999 ARIA award, second prize in the Plácido Domingo Operalia Competition, the Metropolitan Opera National Council Auditions, and the Luciano Pavarotti International Voice Competition. In 2017, the Glimmerglass Festival appointed him as its Artistic Advisor. A native of Philadelphia, Mr. Owens began his musical training as a pianist at age 6, followed by formal oboe study at age 11 under Lloyd Shorter

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tuesday musical 2018 | 2019

of the Delaware Symphony and Louis Rosenblatt of the Philadelphia Orchestra. He studied voice while an undergraduate at Temple University, and then as a graduate student at the Curtis Institute of Music. He currently studies with Armen Boyajian. He serves on the Board of Trustees of both the National Foundation for Advancement in the Arts and Astral Artistic Services. Starting in 2019, Mr. Owens becomes the cochair of the Curtis Institute’s opera department.

Craig Terry, piano

auded for his “sensitive and stylish” (The New York Times) and “superb” (Opera News) playing, pianist Craig Terry enjoys an international career regularly performing with the world’s leading singers and instrumentalists. Mr. Terry is now Music Director of The Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, after 11 seasons at Lyric as Assistant Conductor. Previously, he served as Assistant Conductor at the Metropolitan Opera after joining its Lindemann Young Artist Development Program. Mr. Terry has performed with such esteemed vocalists as Jamie Barton, Stephanie Blythe, Christine Brewer, Lawrence Brownlee, Nicole Cabell, Sasha Cooke, Eric Cutler, Danielle de Niese, Joyce DiDonato, Giuseppe Filianoti, Renée Fleming, Susan Graham, Denyce Graves, Bryan Hymel, Brian Jagde, Joseph Kaiser, Quinn Kelsey, Kate Lindsey, Ana María Martínez, Eric Owens, Ailyn Perez, Nicholas Phan, Susanna Phillips, Luca Pisaroni, Patricia Racette, Hugh Russell, Bo Skovhus, Garrett Sorenson, Heidi Stober, Amber Wagner, Laura Wilde, and Catherine Wyn-Rogers. He has collaborated as a chamber musician with members of the Metropolitan Opera Orchestra, the Lyric Opera of Chicago Orchestra, the Gewandhaus Orchester, and the Pro Arte String Quartet. Mr. Terry’s 2018-19 season recital performance schedule includes concerts in North America, Europe, Africa and Australia with Stephanie Blythe, Christine Brewer, Lawrence Brownlee, Jennifer Johnson Cano, Joyce DiDonato, Susan Graham, Ana María Martínez, Eric Owens, Nicholas Phan, Patricia Racette, Hugh Russell expect great music

and Heidi Stober. He is Artistic Director of “Beyond the Aria,” a highly acclaimed recital series now in its fifth sold-out season, presented by the Harris Theater in collaboration with the Ryan Opera Center and Lyric Unlimited. Mr. Terry’s discography includes three recently released recordings: “Diva on Detour” with Patricia Racette, “As Long As There Are Songs” with Stephanie Blythe, SHERVIN LAINEZ and “Chanson d’Avril” with Nicole Cabell. His latest recording project with Joyce DiDonato — “Songplay” — was released by Warner Classics in November 2018. Mr. Terry hails from Tullahoma, Tennessee, received a Bachelor of Music degree in Music Education from Tennessee Technological University, continued his studies at Florida State University and received a Masters of Music in Collaborative Piano from the Manhattan School of Music, where he was a student of pianist Warren Jones.

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Text & Translations Wolfgang Amadeus Mozart (1756-1791), Non più andrai Text by: Lorenzo da Ponte Non più andrai, farfallone amoroso, notte e giorno d’intorno girando; delle belle turbando il riposo Narcisetto, Adoncino d’amor.

You won’t go anymore, amorous butterfly, Night and day flitting to and fro; Disturbing beauties in their sleep Tiny Narcissus, Adonis of love.

Non più avrai questi bei pennacchini, quel cappello leggero e galante, quella chioma, quell’aria brillante, quel vermiglio donnesco color.

No more will you have these lovely feathers, That light, gallant cap, That hair, that brilliant countenance, That womanly, red complexion.

Tra guerrieri, poffar Bacco! Gran mustacchi, stretto sacco. Schioppo in spalla, sciabla al fianco, collo dritto, muso franco, un gran casco, o un gran turbante, molto onor, poco contante! Ed invece del fandango, una marcia per il fango.

Among soldiers, by Bacchus! A great moustache, a tiny pack. A rifle on your shoulder, a sabre at your side, Standing up straight, hard faced, A great helmet, or great turban, A lot of honor, but a little pay! And instead of dancing the fandango, You dance a march through the mud.

Per montagne, per valloni, con le nevi e i sollioni. Al concerto di tromboni, di bombarde, di cannoni, che le palle in tutti i tuoni all’orecchio fan fischiar. Cherubino alla vittoria: alla gloria militar!

Over mountains, through valleys, With snow and burning sunshine. To the sound of trumpets, Of bombs, of cannons, Which, at every beat, passing bullets, Make your ears ring. Cherubino, to victory: To military glory!

Gaetano Donizetti (1797-1848), “Ah! mes amis, quel jour de fête!” from La fille du regiment Text by Jules-Henri Vernoy de Saint-Georges (1799-1875) and Jean-François Alfred Bayard (1796-1853) Ah! Mes amis, quel jour de fête! Je vais marcher sous vos drapeaux. L’amour, qui m’a tourné la tête Désormais me rend un héros. Ah! Quel bonheur, oui, mes amis, Je vais marcher sous vos drapeaux!

Oh, my friends, what a happy day! I’m going to march beneath your colours, Love, that has turned my head, From henceforth will make me a hero. Oh, what joy yes, my friends, I’m going to march beneath your colours!

Oui, celle pour qui je respire À mes voeux a daigné sourire Et ce doux espoir de bonheur Trouble ma raison et mon coeur! Ah! Ah! Mes amis, quel jour de féte Je vais marcher sous vos drapeaux.

Yes, the girl I sigh for Has deigned to smile upon my wishes, And this sweet hope of happines Unsettles my mind and my heart! Ah! Oh, my friends, what a happy day! I’m going to march beneath your colours.

Pour mon âme quel destin! J’ai sa flamme et j’ai sa main! Jour prospère! Me voici Militaire et mari! Ah! Pour mon âme quel destin! J’ai sa flamme et j’ai sa main. Etc.

What a fortune for my heart! I have her love and her hand! Oh, lucky day! Here am I, A soldier and a husband! Ah, what a future for my heart! I have her love and her hand. Etc.

Giuseppe Verdi (1813-1901) “Infelice! E tuo credevi” from Ernani, Text by Francesco Maria Piave (1810-1876) Che mai vegg’io! Nel penetral più sacro di mia magione; presso a lei che sposa esser dovrà d’un Silva, due seduttori io scorgo?

What is this I see! The innermost dark part of my home, That you the bridesmaid of Silva Is found with two seducers?

Entrate, olà, miei fidi cavalieri. Sia ognun testimon del disonore, dell’onta che si reca al suo signore

Entranced, my faithful knights, You both dishonorably witness, The shame that falls upon your lord.

Infelice!... e tuo credevi sì bel giglio immacolato!... Del tuo crine fra le nevi piomba invece il disonor. Ah! perché l’etade in seno giovin core m’ha serbato! Mi dovevan gli anni almeno far di gelo ancora il cor

Poor wretch!...And you believed Her to be a beautiful immaculate lily! Instead, dishonor swoops over your snow-white mane. Oh! Why, has life kept the heart Of a young man beating inside me! The years should have at least Turned my heart cold.

tuesdaymusical.org ■ 330.761.3460

tuesday musical 2018 | 2019 Gaetano Donizetti (1797-1848) “Voglio dire, lo stupendo elisir” from L'elisir d'amore, Text by Felice Romani (1788-1865) NEMORINO Voglio dire... lo stupendo Elisir che desta amore.

NEMORINO I mean to say….the wonderful Elixir that arouses love.

DULCAMARA Ah! sì, sì, capisco, intendo. Io ne son distillatore.

DULCAMARA Ah! Yes, yes, I understand. I do the distilling.

NEMORINO E fia vero?

NEMORINO Can it be true?

DULCAMARA Sì... se ne fa gran consumo in questa età.

DULCAMARA Yes….I am the only one Who can make this in large amounts.

NEMORINO Oh! fortuna!... e ne vendete?

NEMORINO Oh!What fortune!....You sell it?

DULCAMARA Ogni giorno a tutto il mondo.

DULCAMARA Every day around the world.

NEMORINO E qual prezzo ne volete?

NEMORINO And what is the price you want?

DULCAMARA Poco, assai...

DULCAMARA Soon, very….

NEMORINO Poco?

NEMORINO Soon?

DULCAMARA ...cioè... secondo...

DULCAMARA ….that is...second.....

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Text & Translations NEMORINO Un zecchine... null’altro ho qua...

NEMORINO A zecchin....I don’t have any more...

DULCAMARA È la somma che ci va.

DULCAMARA That is the price here.

NEMORINO Ah! prendetelo, dottore!

NEMORINO Ah! Take it, doctor!

DULCAMARA Ecco il magico liquore.

DULCAMARA Here is the magic liquor..

NEMORINO Obbligato, ah! sì, obbligato! son felice, son contento; elisir di tal bontà, benedetto chi ti fa! Obbligato, obbligato ecc.

NEMORINO Obliged, ah! Yes, obliged! I’m happy, I’m content; The elixir of goodness; Blessed are you who makes it! Obliged, obliged, etc.

DULCAMARA (Nel paese che ho girato più d’un gonzo ho ritrovato, ma un uguale in verità non si trova, non si dà.)

DULCAMARA (In the country that I go round More than a fool I have found, But an equal in truth One cannot be found.)

NEMORINO Ehi! Dottore, un momentino... In qual modo usar si puote?

NEMORINO Hey! Doctor, one moment… In what way am I to take this?

DULCAMARA Con riguardo, pian pianino la bottiglia un po’ si scuote... poi si stura, ma si bada che il vapor non se ne vada.

DULCAMARA With respect, very softly Shake the bottle a little bit... Then open, but pay attention That the vapor does not go away.

NEMORINO Ben...

NEMORINO Well....

presents

For the Love of Nature

Join us for the second concert of our season,

For the Love of Nature,

with the Singers Companye, directed by Dr. Samuel Gordon, in nature inspired works by Handel, Purcell, and Rameau. Also featured will be guest artist George Pope, in a performance of Vivaldi’s flute concerto, Il Gardellino (the Goldfinch).

FREE CONCERT

You're Invited! Annual Benefit, Gatsby themed event,

choral•ography Saturday, March 23, 2019 Greystone Hall Honorary Chair:

Nick Browning

President of The Huntington National Bank Akron Region

Tickets Available!

SummitChoralSociety.org • 330.434.SING(7464)

Sponsored in part by the generous support of Key Bank.

Sunday March 24, 2019, at 4 pm as part of the “Faith at Four” Series.

Faith Lutheran Church 2726 West Market Street, Fairlawn, OH 44333 330-836-8811

tuesdaymusical.org ■ 330.761.3460

tuesday musical 2018 | 2019 DULCAMARA Quindi al labbro lo avvicini...

DULCAMARA Bring it to your lips....

NEMORINO ...ben...

NEMORINO ...well….

DULCAMARA ...e lo bevi a centellini...

DULCAMARA ...and drink a sip...

NEMORINO ...ben...

NEMORINO ...well…..

DULCAMARA ...e l’effetto sorprendente non ne tardi a conseguir

DULCAMARA ...and the surprising effect Takes hold immediately

NEMORINO Sul momento?

NEMORINO At the moment?

DULCAMARA A dire il vero, necessario è un giorno intero. (Tanto tempo sufficiente per cavarmela e fuggir.)

DULCAMARA To be honest, We need a whole day. (Sufficient time Passing to flee.)

NEMORINO E il sapore?...

NEMORINO And the flavor?...

DULCAMARA Eccellente...

DULCAMARA Excellent...

NEMORINO Eccellente?...

NEMORINO Excellent?...

DULCAMARA Eccellente... (È Bordò, non Elisir.)

DULCAMARA Excellent... (It’s Bordeaux, not elixir.)

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Text & Translations NEMORINO Obbligato, ah! sì, obbligato! son felice, son beato; elisire di tal bontà, benedetto chi ti fa! Obbligato, obbligato ecc.

NEMORINO Obliged, ah! Yes, obliged! I’m happy, I’m content; The elixir of goodness; Blessed are you who makes it! Obliged, obliged, etc.

DULCAMARA (Gonzo eguale in verità non si trova, non si dà.)

DULCAMARA (An equal to this fool Cannot be found.)

Giovinotto!... Ehi?... ehi?...

Young man!...Hey?... Hey?

NEMORINO Signore?

NEMORINO Sir?

DULCAMARA Sovra ciò... silenzio... sai? silenzio... silenzio. Oggi dì spacciar l’amore è un affar geloso assai.

DULCAMARA Over this... silence... you know? silence... silence. Today the deal of love Is a very jealous affair.

NEMORINO Oh!

DULCAMARA Sicuramente, è un affar geloso assai: impacciar se ne potria un tantin l’Autorità. Dunque, silenzio.

DULCAMARA Surely, It is a very jealous affair: If the authorities discover I am selling it, they will put me in jail. Therefore, silence.

NEMORINO Ve ne do la fede mia; neanche un’anima il saprà.

NEMORINO You have my word: Not a soul will know.

DULCAMARA Va’, mortale fortunato; un tesoro io t’ho donato: tutto il sesso femminino te doman sospirerà.

DULCAMARA Go, happy mortal; A treasure I have donated: All the females Tomorrow will sigh over you.

NEMORINO Ah! dottor, vi do parola ch’io berrò per una sola: né per altra, e sia pur bella, né una stilla avanzerà.

NEMORINO Ah! Doctor, take my word I’ll drink for only one: Not for another, and albeit beauty, Not a drop will be left.

DULCAMARA (Ma doman di buon mattino ben lontan sarò di qua.)

DULCAMARA (But tomorrow morning I will be far away from here..)

NEMORINO (Veramente amica stella ha costui condotto qua.)

NEMORINO (A truly friendly star Has lead him here.)

Get on Board! Saturday March 23, 2019

From Sea to Shining Sea Saturday May 18, 2019

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tuesday musical 2018 | 2019 Gaetano Donizetti (1797-1848) “Una furtiva lagrima” from L'elisir d'amore, Text by Felice Romani (1788-1865) Una furtiva lagrima negli occhi suoi spuntò: Quelle festose giovani invidiar sembrò. Che più cercando io vo? Che più cercando io vo? M’ama! Sì, m’ama, lo vedo. Lo vedo. Un solo instante i palpiti del suo bel cor sentir! I miei sospir, confondere per poco a’ suoi sospir! I palpiti, i palpiti sentir, confondere i miei coi suoi sospir... Cielo! Si può morir! Di più non chiedo, non chiedo. Ah, cielo! Si può! Si, può morir! Di più non chiedo, non chiedo. Si può morire! Si può morir d’amor.

A single secret tear from her eye did spring: as if she envied all the youths that laughingly passed her by. What more searching need I do? What more searching need I do? She loves me! Yes, she loves me, I see it. I see it. For just an instant the beating of her beautiful heart I could feel! As if my sighs were hers, and her sighs were mine! The beating, the beating of her heart I could feel, to merge my sighs with hers... Heavens! Yes, I could die! I could ask for nothing more, nothing more. Oh, heavens! Yes, I could, I could die! I could ask for nothing more, nothing more. Yes, I could die! Yes, I could die of love.

Charles Gounod (1818-1893) “Le veau d’or” from Faust Text by Paul Jules Barbier (1825-1901) and Michel Carré (1821-1872) Le veau d’or est toujours debout! On encense sa puissance, On encense sa puissance, D’un bout du monde à l’autre bout! Pour fêter l’infàme idole, Rois et peuples confondu, Au bruit sombre des écus, Danse une ronde folle Autour de son piédestale, Autour de son piédestale, Et Satan conduit le bal, etc, etc.

The calf of gold is still standing! One adulates his power, One adulates his power, From one end of the world to the other end! To celebrate the infamous idol, Kings and the people mixed together, To the somber sound of golden coins, They dance a wild round Around his pedestal Around his pedestal And Satan leads the dance, etc, etc.

Le veau d’or est vainqueur des dieux! Dans sa gloire dérisoire, Dans sa gloire dérisoire, Le monstre abject insulte aux cieux! Il contemple, ô rage étrange! A ses pieds le genre humain, Se ruant, le fer en main, Dans le sang et dans la fange Où brille l’ardent métal, Où brille l’ardent métal, Et Satan conduit le bal, etc.

The calf of gold is the victor over the gods! In its derisory (absurd) glory, In its derisory (absurd) glory, The abject monster insults heaven! It contemplates, oh weird frenzy! At his feet the human race, Hurling itself about, iron in hand, In blood and in the mire, Where gleams the burning metal, Where gleams the burning metal, And Satan leads the dance, etc.

Georges Bizet (1838-1875) “Je crois entendre encore” from Les Pêcheurs de Perles, Text by Eugène Cormon (1810-1903) and Michel Carré (1821-1872) Je crois entendre encore, Caché sous les palmiers, Sa voix tendre et sonore Comme un chant de ramier! O nuit enchanteresse! Divin ravissement! O souvenir charmant! Folle ivresse! doux rêve! Aux clartés des étoiles, Je crois encore la voir, Entr’ouvrir ses longs voiles Aux vents tièdes du soir! O nuit enchanteresse! Divin ravissement! O souvenir charmant! Folle ivresse! doux rêve! Charmant souvenir!

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I still believe I hear hidden beneath the palm trees her voice, tender and deep like the song of a dove oh enchanting night divine rapture delightful memory mad intoxication, sweet dream. In the clear starlight I still believe I see her half drawing her long veil to the warm night breeze. Oh enchanting night divine rapture delightful memory mad intoxication, sweet dream. Charming memory.

Text & Translations Georges Bizet (1838-1875) “Au fond du temple saint” from Les Pêcheurs de Perles, Text by Eugène Cormon (1810-1903) and Michel Carré (1821-1872) Au fond du temple saint Paré de fleurs et d’or, Une femme apparaît! Je crois la voir encore! Une femme apparaît! Je crois la voir encore!

At the back of the holy temple, decorated with flowers and gold, A woman appears! I can still see her! The prostrate crowd looks at her amazed and murmurs under its breath: look, this is the goddess looming up in the shadow and holding out her arms to us. Her veil parts slightly. What a vision! What a dream! The crowd is kneeling.

La foule prosternée La regarde, etonnée, Et murmure tous bas: Voyez, c’est la déesse! Qui dans l’ombre se dresse Et vers nous tend les bras! Son voile se soulève! Ô vision! ô rêve! La foule est à genoux!

Yes, it is she! It is the goddess, more charming and more beautiful. Yes, it is she! It is the goddess who has come down among us. Her veil has parted and the crowd is kneeling.

Oui, c’est elle! C’est la déesse plus charmante et plus belle! Oui, c’est elle! C’est la déesse qui descend parmi nous! Son voile se soulève et la foule est à genoux!

But through the crowd she makes her way. Already her long veil hides her face from us. My eyes, alas! Seek her in vain! She flees!

Mais à travers la foule Elle s’ouvre un passage! Son long voile déjà Nous cache son visage! Mon regard, hélas! La cherche en vain! Elle fuit! Elle fuit!

But what is this strange flame which is suddenly kindled in my soul! What unknown fire is destroying me? Your hand pushes mine away! Your hand pushes mine away! Love takes our hearts by storm and turns us into enemies! No, let nothing part us! No, nothing!

Mais dans mon âme soudain Quelle étrange ardeur s’allume! Quel feu nouveau me consume! Ta main repousse ma main! De nos cśurs l’amour s’empare Et nous change en ennemis! Non, que rien ne nous sépare! Non, rien! Jurons de rester amis! Oui, c’est elle! C’est la déesse! En ce jour qui vient nous unir, Et fidèle à ma promesse, Comme un frère je veux te chérir! C’est elle, c’est la déesse Qui vient en ce jour nous unir! Oui, partageons le même sort, Soyons unis jusqu’à la mort!

>> 44 <<

Let us swear to remain friends! Oh yes, let us swear to remain friends! Yes, it is her, the goddess, who comes to unite us this day. And, faithful to my promise, I wish to cherish you like a brother! It is her, the goddess, who comes to unite us this day! Yes, let us share the same fate, let us be united until death!

**OPEN LATE**

Visit our website at briccorestaurants.com for hours and links to our locations in Fairlawn, Kent and the Merriman Valley.

1 W. Exchange St. 330-475-1600 JOIN US BEFORE OR AFTER THE SHOW Monday thru Saturday 11 am—11 pm Sun 10 am— Justvisit Blocks FromatEJbriccorestaurants.com Thomas Hall our website for ho 1 W. links Exchange St., Downtown Akron 330-475-1600 to our locations in Fairlawn, Kent and the Merr >> > JOIN US BEFORE OR AFTER THE SHOW > > >

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Three Duels Baroque orchestra jeannette sorrell

and a Funeral

In this sequel to last year’s hit program, “Three Duels and a Wedding,” sparks fly as pairs of virtuoso soloists square off in dueling concertos.

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THURSDAY, MARCH 7, 7:30PM FIRST UNITED METHODIST, AKRON

Other performances around Northeast Ohio March 8-10

31 12/7/18 1:23 PM

Support: Individuals

tuesday musical 2018 | 2019

e gratefully acknowledge all donors this season. Every gift helps to support the success of Tuesday Musical’s MainStage and Fuze concert series and Education and Community Engagement Programs. (as of December 21, 2018) Sue Jeppesen Gillman Joy and Bruce Hagelin Patricia and James Hartzler James and Maureen Kovach Mike Magee JoAnn Marcinkoski Lola Rothmann Frederick and Elizabeth Specht Elizabeth and Michael Taipale John Vander Kooi

Director $5,000+ Anne Alexander Ann Allan David and Margaret Hunter Cynthia Knight Kenneth Shafer Tim and Jennifer Smucker Darwin Steele James and Linda Venner Lucinda Weiss “Three Graces Piano”

Patron $400 to $699

Benefactor $1,500 to $4,999 Michael and Lori Mucha Peter and Dorothy Lepp Linda and Paul Liesem Marianne and Russ Miller Charles and Elizabeth Nelson George Pope Patrick Reilly Donald and Corrine Rohrbacher Pat Sargent Thomas and Meg Stanton Sustainer $700 to $1,499

William P. Blair III John Dalton Lois and Harvey Flanders Ted and Teresa Good DuWayne and Dorothy Hansen Loren Hoch Dr. Tom and Mary Ann Jackson Susan and Allen Kallor Mary Jo Lockshin Mark and Barbara MacGregor Stan and Roberta Marks Dianne and Herb Newman Roger Read Peter and Nanette Ryerson Jean Schooley Carol Vandenberg

Sara J. Buck Sara and Alan Burky Robert A. and Susan H. Conrad Gary Devault Barbara Eaton Jon Fiume Elaine Guregian Michael Hayes Patti Hester John and Suzanne Hetrick Mark and Karla Jenkins Cally Gottlieb King Tom and Cheryl Lyon Marjorie Magee Natalie Miahky Jim and Patty Milan Paul and Alicia Mucha Alan and Marjorie Poorman Paula Rabinowitz Sandra and Ben Rexroad Richard and Alita Rogers Anne Marie Schellin Rachel Schneider Betty and Joel Siegfried Margo Snider Peter and Linda Tilgner Brooks and Dina Toliver Susan and Reid Wagstaff Kathleen Walker Jorene Whitney Jamie Wilding and Caroline Oltmanns Christopher Wilkins Shirley Workman Douglas D. Zook Jr.

Eleanor and Richard Aron Lee and Floy Barthel Earl and Judy Baxtresser Donor $200 to $399 John Bertsch Kittle B. Clarke Anonymous Thomas and Mary Lynn Crowley John Arther Harloe and Harriet Cutler Mark and Sandy Auburn Barbara and Denis Feld Carmen Beasley Paul Filon Cheryl Boigegrain FOR NORTH EASTERN OHIO & WESTERN PENNSYLVANIA Bob and Beverley Fischer FOR NORTH & WESTERN PENNSYLVANIA Jack and EASTERN BonnieOHIO Barber

CLASSICAL CLASSICALMUSIC MUSIC

CLASSICAL MUSIC

Barbara Krauss

Barbara Krauss & Gar y Sexton & Gar y Sexton

CLASSICAL MUSIC CLASSICAL CLASSICAL MUSICMUSIC FOR NORTH EASTERN OHIO & WESTERN PENNSYLVANIA

Barbara Krauss & Gar y Sexton

FOR NORTH EASTERN OHIO & WESTERN PENNSYLVANIA Barbara Krauss FOR NORTH EASTERN OHIO & WESTERNOHIO PENNSYLVANIA Barbara Krauss & Gar y Sexton FOR NORTH EASTERN & WESTERN PENNSYLVANIA Barbara Krauss & Gar y Sexton

& Gar y Sexton 9:00AM - 3:00PM• Weekdays • Weekdays 9:00AM - 3:00PM Hosted by Barbara Krauss & Gary Sexton

Hosted by Barbara Krauss & Gary Sexton

9:00AM - 3:00PM •Evenings Weekdays& Overnights

Evenings & Overnights

Hosted by Barbara Krauss & Gary Sexton

24/7 All Classical Channel 2 Evenings & Overnights

24/7 All Classical Channel 2 9:00AM - 3:00PM • Weekdays www.wysu.org 9:00AM - 3:00PM • Weekdays Hosted by Barbara Krauss 2& Gary Sexton 24/7 All Classical Channel Hosted by Barbara Krauss & Gary Sexton

www.wysu.org

For more Information contact 330.941.3363 www.wysu.org Evenings & Overnights

Information contact 330.941.3363 Evenings & Overnights 9:00AM - 3:00PM For• more Weekdays For more Information contact 330.941.3363

Hosted by Barbara Krauss & Gary Sexton 24/7 All Classical Channel 2

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24/7 All Classical Channel 2

www.wysu.org www.wysu.org Evenings & Overnights For more Information contact 330.941.3363

Support: Memorials & Tributes These gifts to Tuesday Musical are meaningful ways to honor special people. In Memory of Nancy Anderson

In Memory of Elizabeth Kime

In Memory of Bud Rodgers

Joy and Bruce Hagelin

Margaret and David Hunter

In Memory of Elizabeth Dalton

In Memory of Eugene Mancini

In Memory of Donna Wingard

Bob and Beverley Fischer Joy and Bruce Hagelin Jarrod Hartzler Margaret and David Hunter JoAnn Marcinkoski

Toshie Haga

Joy and Bruce Hagelin

In Memory of Paul Marcinkoski

In Honor of George Pope

Barbara Eaton Bob and Beverley Fischer Joy and Bruce Hagelin

Betty Sandwick

In Memory of Wanda Fair Kittie B. Clarke

In Memory of Alice Phillips

In Honor of Billie Whittum Harriet Richman

Joan Beach

Support: Foundations, Corporations & Government Agencies Tuesday Musical thanks these foundations, corporations and government agencies for their support. $25,000+ GAR Foundation John S. and James L. Knight Foundation Louis S. and Mary Schiller Myers Foundation Ohio Arts Council Peg’s Foundation $10,000 to $24,999 Community Fund—Arts & Culture of the Akron Community Foundation C. Colmery Gibson Polsky Fund of Akron Community Foundation Kulas Foundation John A. McAlonan Fund of Akron Community Foundation Gertrude F. Orr Trust Advised F und of Akron Community Foundation $5,000 to $9,999 Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust

Charles E. and Mabel M. Ritchie Memorial Foundation Lloyd L. and Louise K. Smith Foundation Welty Family Foundation

Maynard Family Foundation Laura R. and Lucian Q. Moffitt Foundation

$1,000 to $4,999

Akron Tool & Die Co. Nelson Development Skoda Minotti Wealth Impact Advisors, LLC Wegman Hessler & Vanderburg

Akron/Summit Convention & Visitors Bureau Arts Midwest Touring Fund The Lisle M. Buckingham Endowment Fund of Akron Community Foundation Kenneth L. Calhoun Charitable Trust, KeyBank, Trustee KeyBank Foundation Lehner Family Foundation Beatrice K. McDowell Family Fund R. C. Musson and Katharine M. Musson Charitable Foundation OMNOVA Solutions Foundation Sisler McFawn Foundation $200 to $999 KeyBank Foundation Community Leadership Fund W. Paul Mills and Thora J. Mills Memorial Foundation

Corporate Partners

In-kind Services Akron Beacon Journal Cally Graphics ClevelandClassical.com Cogneato ideastream® Labels and Letters Sheraton Suites Akron/ Cuyahoga Falls Steinway Piano Gallery— Cleveland The University of Akron School of Music WKSU-FM Wooster Color Point

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AKRON SYMPHON Y ORCHESTRA

ALSO SPRACH ZARATHUSTRA MARCH 16 8 PM

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tuesday musical

2018-2019 Board of Directors

Executive Committee President Paul Filon

Vice President/President Elect Linda Liesem

Treasurer Stephannie Garrett

Secretary Marianne Miller Governance Committee Chair Bob Fischer

Committee Chairs

Brahms Allegro Chair Cheryl Boigegrain

Development Chair Charles Nelson Student Voucher Chair Magdalena McClure

Finance Chair Stephannie Garrett

Hospitality Co-Chairs Barbara Eaton & Joy Hagelin

Membership Chair Fred Specht

Member Program Chair Teresa Good

Scholarship Chair George Pope

At-large Members Mary Jo Lockshin, Cheryl Lyon, Mike Magee,

Paul Mucha & James Wilding Staff

Executive & Artistic Director Jarrod Hartzler

Director of Development & Communications Cyndee Snider

Programs Director Moneeb Iqbal

Director of Operations Karla Jenkins

Program art direction by Live Publishing Co.

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OBERLIN OBERLIN OBERLIN OBERLIN OBERLIN COLLEGE COLLEGE COLLEGE COLLEGE COLLEGE && CONSERVATORY & CONSERVATORY & & CONSERVATORY CONSERVATORY CONSERVATORY

ARTIST ARTIST ARTISTRECITAL RECITAL RECITAL SERIES SERIES SERIES2018-19 2018-19 2018-19 AACELEBRATION CELEBRATION A CELEBRATION AA CELEBRATION CELEBRATION OF OFTHE OF THE OF OF THE ARTS ARTS THE THE ARTS ARTS ARTS AT ATOBERLIN AT OBERLIN AT AT OBERLIN OBERLIN OBERLIN SINCE SINCE SINCE SINCE SINCE 1878 1878 1878 1878 1878

Tharaud haraud Tharaud Tharaud Tharaud

DiDonato DiDonato DiDonato DiDonato DiDonato

THE THE THE CLEVELAND THE CLEVELAND CLEVELAND CLEVELAND ORCHESTRA ORCHESTRA ORCHESTRA ORCHESTRA Alexandre Alexandre Alexandre Alexandre Tharaud, Tharaud, Tharaud, Tharaud, piano piano piano piano SEPTEMBER SEPTEMBER SEPTEMBER SEPTEMBER 21 212121

Anderszewski Anderszewski Anderszewski Anderszewski Anderszewski

DORIC DORIC DORIC DORIC STRING STRING STRING STRING QUARTET QUARTET QUARTET QUARTET FEBRUARY FEBRUARY FEBRUARY FEBRUARY 22 222222

JOYCE JOYCE JOYCE JOYCE DIDONATO: DIDONATO: DIDONATO: DIDONATO: SONGPLAY SONGPLAY SONGPLAY SONGPLAY

JAMES JAMES JAMES JAMES EHNES, EHNES, EHNES, EHNES, VIOLIN VIOLIN VIOLIN VIOLIN OCTOBER OCTOBER OCTOBER OCTOBER 14 141414

FEBRUARY FEBRUARY FEBRUARY FEBRUARY 27 272727

PIOTR PIOTR PIOTR PIOTR ANDERSZEWSKI, ANDERSZEWSKI, ANDERSZEWSKI, ANDERSZEWSKI, PIANO PIANO PIANO PIANO

THE THE THE ROMEROS THE ROMEROS ROMEROS ROMEROS

APRIL APRIL APRIL APRIL 33 3 3

NOVEMBER NOVEMBER NOVEMBER NOVEMBER 18 181818

MASTER MASTER MASTER MASTER CLASS CLASS CLASS CLASS WITH WITH WITH WITH MARILYN MARILYN MARILYN MARILYN HORNE HORNE HORNE HORNE DECEMBER DECEMBER DECEMBER DECEMBER 99 9 9

DeJohnette DeJohnette DeJohnette DeJohnette DeJohnette

Ehnes Ehnes Ehnes Ehnes Ehnes

THE THE THE SPRING THE SPRING SPRING SPRING QUARTET QUARTET QUARTET QUARTET Featuring Featuring Featuring Featuring Esperanza Esperanza Esperanza Esperanza Spalding, Spalding, Spalding, Spalding, Joe JoeJoe Lovano, Lovano, Joe Lovano, Lovano, Jack Jack Jack Jack DeJohnette, DeJohnette, DeJohnette, DeJohnette, and and and Leo and Leo Leo Genovese Genovese Leo Genovese Genovese APRIL APRIL APRIL APRIL 17 171717

Genovese Genovese Genovese Genovese Genovese

Lovano Lovano Lovano Lovano Lovano

Spalding Spalding Spalding Spalding Spalding

Artists Artists Artists Artists and Artists andand dates dates and and dates are dates are dates subject are subject are are subject subject subject totochange. change. to change. to to change. change. Subscriptions Subscriptions Subscriptions Subscriptions Subscriptions and andand partial-season partial-season and and partial-season partial-season partial-season packages packages packages packages packages are areavailable. are available. are are available. available. available. More More More information information More More information information information available available available available available atatoberlin.edu/artsguide. oberlin.edu/artsguide. at oberlin.edu/artsguide. at at oberlin.edu/artsguide. oberlin.edu/artsguide.

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