Tuesday Musical November 22 Concert

tuesday musical Presenting the finest 2016-2017 Season We Knew Them When: Celebrating Tuesday Musical’s Scholarship Program Jinjoo Cho, violin Dina Kuznetsova, soprano November 22, 2016

Baroque orchestra jeannette sorrell

25th anniversary season

Handel’s

MESSIAH

MONDAY, DECEMBER 12, 7:30PM ST. PAUL’S EPISCOPAL CHURCH (AKRON) Other performances around Northeast Ohio December 9-16

Now an acclaimed CD, Jeannette Sorrell’s interpretation of Handel’s Messiah has inspired audiences across the country on many national radio broadcasts. Taking their cue from Handel’s original conception of the piece as theatrical entertainment, Sorrell and her actor-singers take the listeners on a spiritual and emotional journey.

The program heads to New York City following local performances.

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tuesday musical presents

Imani Winds

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xtolled by the Washington Post as “exuding a sultry sophistication during performances,” Imani Winds has established itself as one of the most successful chamber music ensembles in the United States. With two member composers and a deep commitment to commissioning new work, this Grammy-nominated group is enriching the traditional wind quintet repertoire while bridging European, American, African and Latin American traditions.

Wednesday, January 25, 2017 7:30 p.m. at EJ Thomas Hall Pre-concert talk at 6:30 p.m.

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2016-17 Concert Season Sunday, November 13 4 PM Always Something Sings … with Akron Chamber Strings Saturday, December 17 4 PM The Skies Rejoice: Carols for the Season Born … with the Paragon Brass Quintet

Samuel Gordon, Artistic Director Sunday, February 19 4 PM All Vivaldi program featuring the magnificent Gloria … with Akron Baroque Sunday, April 23 4 PM My Song In the Night Concerts at Faith Lutheran Church 2726 W. Market St., Akron, OH

All concerts are free and open to the public. Hear the chamber choir everyone raves about!

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concert series

The University of Akron EJ Thomas Performing Arts Hall Tuesday, November 22, 2016, 7:30 pm

We Knew Them When:

Celebrating Tuesday Musical’s Scholarship Program Jinjoo Cho, violin • Dina Kuznetsova, soprano • Hyun Soo Kim, piano Wolfgang Mozart L’amerò, sarò costante (aria from “Il Re Pastore”), (1756-1791) Dina Kuznetsova, soprano, Jinjoo Cho, violin, Hyun Soo Kim, piano Franz Schubert Sonata for Violin and Piano in A Major, “Duo”, D.574 (Op.posth.162) (1797-1828) Allegro moderato; Scherzo & Trio. Presto; Andantino; Allegro vivace Jinjoo Cho, violin, Hyun Soo Kim, piano Antonín Dvorˇák Gypsy Songs, Op. 55 (1841-1904) Dina Kuznetsova, soprano, Hyun Soo Kim, piano INTERMISSION Benjamin Britten Three songs from “The Poet’s Echo” (1913-1976) “Echo;” “I thought my heart had forgotten...;” “Poems, written during a sleepless night” Dina Kuznetsova, soprano, Hyun Soo Kim, piano Benjamin Britten Suite for Violin and Piano, Op. 6 March, Moto perpetuo, Lullaby, Waltz Jinjoo Cho, violin, Hyun Soo Kim, piano Pyotr Tchaikovsky Songs “Frenzied Nights”, Op. 60 No. 6 (1840-1893) “Not a word, my friend”, Op.6 No. 2; “Lullaby” Op.16 No.1; “Does the Day Reign” Op. 47 No.6 Dina Kuznetsova, soprano, Hyun Soo Kim, piano Sergei Rachmaninov “Do not sing, o beauty...” Op. 4, No. 4 (1873-1943) Dina Kuznetsova, soprano, Jinjoo Cho, violin, Hyun Soo Kim, piano Tuesday Musical’s Three Graces Steinway D Piano is on stage this evening.

Pre-concert Talk by Brooks Toliver Dr. Brooks Toliver is a professor at The University of Akron School of Music, and the husband of Dina Kuznetsova.

Generous Support The Lloyd L. and Louise K. Smith Memorial Foundation has provided generous support for this concert, which is presented in collaboration with The University of Akron School of Music’s Kulas Concert Series.

The Kenneth L. Calhoun Charitable Trust, KeyBank, Trustee, provided generous support for the education and community engagement activities related to this concert.

Among Our Season Supporters:

Presenting the Finest

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The Artists Once Tuesday Musical student scholarship recipients and now acclaimed professionals, Dina Kuznetsova and Jinjoo Cho return this evening to perform for the organization that helped launch their careers.

Jinjoo Cho

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iolinist Jinjoo Cho won Tuesday Musical scholarships in 2012 and 2014, and made her solo debut at Carnegie Hall this past

June.

Gold Medalist of the 2014 Ninth Quadrennial International Violin Competition Indianapolis, Ms. Cho made her first appearance on the international music scene when she garnered the First Grand Prize and Radio Canada’s People’s Choice Award at the 2006 Montreal International Musical Competition at age 17.

Since then, she has won numerous international awards including the First Prize and Orchestra Award at the Buenos Aires International Violin Competition in 2010, 2nd Laureate at the 2011 Isang Yun International Music Competition, First Grand Prize at the Alice Schoenfeld International String Competition, and the Dorothy DeLay Award at the Aspen Music Festival.

Born in Seoul, South Korea, Ms. Cho moved to Cleveland at the age of 14 to study at the Cleveland Institute of Music as a Young Artist Program student. Within a few years of arriving in the United States, she had won most of the local competitions for both high school and collegiate level students, including the Cleveland Orchestra Youth Orchestra’s concerto competition and the Cleveland Institute of Music’s collegiate level concerto competition. At age 16, she was awarded the Gold Medal at the Stulberg International String Competition. She served as concertmaster of the Cleveland Orchestra Youth Orchestra and, later, the New York String Orchestra Seminar. The New York Times described her concertmaster solos as “rich and open…finely polished, (and) focused.”

She finished her Bachelor of Music degree both at the Curtis Institute of Music and the Cleveland Institute of Music (CIM) with Joseph 10

Silverstein, Pamela Frank, and Paul Kantor, who has been her mentor since 2001. She also received her Master of Music and Professional Studies from CIM Ms. Cho has concertized throughout North and South America, Asia, and Europe, performing as a soloist with such prestigious orchestras as The Cleveland Orchestra, Orchestre symphonique de Montréal, Orchestre symphonique de Québec, Seoul Philharmonic Orchestra, and the Orquesta Sinfónica Nacional (Argentina) among many others.

Recent and upcoming engagements include her Carnegie Hall Stern Auditorium concerto debut with the New York String Orchestra, plus appearances with the Greensboro, Grand Junction, North Carolina, Indianapolis, Vermont, Phoenix, KBS (Korea) and Orquestra Sinfônica de Minas Gerais (Brazil) symphonies. Her recitals at Bard College, Brattleboro Music Center, Dame Myra Hess, Indiana University, Mercyhurst University, La Jolla Music Society, Linton Chamber Music, Chamber Music International, Rockefeller University and the Mainly Mozart Festival in Miami culminated in the Carnegie Hall Stern Auditorium recital debut in June 2016.

Ms. Cho’s biggest passion is arts education and audience engagement. As a result, she is the founder of the Encore Chamber Music Institute, a new chamber music program for high school and college students in Cleveland. The institute had its inaugural season this past summer. Ms. Cho is also on the faculty of the Oberlin Conservatory, where she teaches violin and coaches chamber music.

Another project of hers on the opposite side of the globe is Classical Revolution Korea, where musicians travel all across Korea to give free concerts and meet audiences in cafés. tuesdaymusical.org n 330.761.3460

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Dina Kuznetsova

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native of Moscow, soprano Dina Kuznetsova is an alumna of The University of Akron School of Music and the Ryan Opera Center at Lyric Opera of Chicago. She won a Tuesday Musical scholarship in 1996.

Since then, she has attracted the attention of the world’s major opera companies for her outstanding musicianship and compelling stage presence. Ms. Kuznetsova has performed in many of the world’s greatest opera houses, including the Metropolitan Opera, Royal Opera House, Berlin’s Staatsoper, The Bolshoi Theatre, and the San Francisco and Chicago lyric operas.

Ms. Kuznetsova’s signature roles have included Verdi’s Gilda (Rigoletto), Violetta (La traviata) and Alice Ford (Falstaff); Puccini’s Mimi and Musetta (La boheme), Lauretta (Gianni Schicchi); Tchaikovsky’s Tatyana (Eugene Onegin); Bellini’s Giulietta (I Capuleti e i Montecchi); Mozart’s Donna Anna (Don Giovanni) and Pamina (Magic Flute); Donizetti’s Adina (L’elisir d’amore); Juliette in Gounod’s Romeo et Juliette.

Her passionate portrayal of Tchaikovsky’s Tatyana (Eugene Onegin) has brought her huge success at Lyric Opera of Chicago, at Opera national de Lille, and with the Russian National Orchestra under Mikhail Pletnev. In most recent seasons Dina Kuznetsova made her outstanding debut as Dvorak’s Rusalka at the Glyndebourne Festival and her highly acclaimed debut as Cio Cio San (Madama Butterfly) at the English National Opera. Kuznetsova’s other recent highlights have included Rusalka and Katya Kabanova for Teatro Municipal de Santiago de Chile; Katya Kabanova for Staatsoper Hamburg; Francesca da Rimini at The Metropolitan Opera with Marco Armiliato; Desdemona (Otello) with the Gulbenkian Orchestra and Lisa (Pique Dame) with the Sydney Symphony Orchestra under Vladimir Ashkenazy.

In the current season, Dina Kuznetsova appears as Handel’s Rodelinda at The Bolshoi Theatre. It is The Bolshoi Theatre-English National Opera co-production.

Presenting the Finest

In concert this season, Kuznetsova performs Rachmaninov’s The Bells with Washington’s National Symphony Orchestra under Vassily Sinaisky and Verdi’s Messa da Requiem with the Gulbenkian Orchestra under Paul McCreesh.

She also has joined the Saint Paul Chamber Orchestra for Shostakovich’s Symphony No. 14 under Hans Graf.

A keen recitalist and chamber musician, Dina Kuznetsova appears regularly at both the New York Festival of Song and the Chamber Music Society of Lincoln Center. Dina Kuznetsova has worked with such conductors as Daniel Barenboim, Sir Andrew Davis, Gennady Rozhdestvensky, Mikhail Pletnev, Vladimir Jurowski, Vladimir Ashkenazy, Vassily Sinaisky, Antonio Pappano, Lawrence Foster, Donald Runnicles, Jesus Lopez-Cobos, Gianluca Marciano, Konstantin Chudovsky and others.

A Holiday Tradition

Dec. 16, 17, & 18, 2016

7:30 pm

St. Bernard Church Downtown Akron Tickets: $28/$33 (includes service fee)

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Tuesday Musical’s Annual Scholarship Competition

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uesday Musical’s annual scholarship competition is widely recognized as one of the best in Ohio. Since starting the competition in 1955 with support from generous donors and competition volunteers, Tuesday Musical has awarded more than 500 scholarships ranging from $500 to $2,000 to talented university and college students embarking on careers in music education and music performance.

This year, 19 college and university music students received nearly $24,000 through Tuesday Musical’s 2016 Scholarship Competition.

The 2016 competition, held in March at The University of Akron’s School of Music, drew 107 music students who are Ohio residents and/or whose music teachers are Ohio residents. Categories included music education, brass, organ, piano, strings, voice, woodwinds and, new this year, classical guitar.

Applications for the 2017 Scholarship Competition will be accepted on-line from January 1 through Friday, February 1, 2017, at www.tuesdaymusical.org/education.

If you wish to support Tuesday Musical’s Scholarship Fund, please contact us at info@tuesdaymusical.org or 330-761-3460. You may also give securely on-line at www.tuesdaymusical.org/support/. All gifts are tax-deductible.

Tuesday Musical’s 2016 Scholarship Competition Winners Winners’ Concert Prizes 1st Place, Arden J. Yockey Scholarship for Performance: Pianist Fangzhou Feng, Cleveland Institute of Music 2nd Place, Arden J. Yockey Scholarship for Performance: Classical guitarist Jeremy Avalos, The University of Akron Brass—adjudicated by Ed Zadrozny, Cleveland Institute of Music 1st Place, Arden J. Yockey Scholarship: Michael Harper, trumpet, Cleveland Institute of Music 2nd Place, Tuesday Musical Scholarship: Devin Gossett, horn, The Ohio State University 3rd Place, Tuesday Musical Scholarship: Stephanie Lumpkin, tuba, The University of Akron Music Education—adjudicated by Patricia Boehm, Mount Union University Gertrude Seiblerling Scholarship: Eden Dunning, The University of Akron Winifred Collins Scholarship: Helen West, Bowling Green State University Classical Guitar—adjudicated by James Piorkowski, SUNY Fredonia Margaret Watts Hunter Scholarship: Jeremy Avalos, The University of Akron Organ—adjudicated by Ann Wilson, Fellowship Certificate, American Guild of Organists Audrey Mollard Scholarship: Nicholas Capozzoli, Oberlin Conservatory

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Piano—adjudicated by Eric Charnofsky, Case Western Reserve University 1st Place, Marguerite Thomas & Gertrude Lancaster Scholarship: Daniel Milan, Bowling Green State University 2nd Place, Tuesday Musical Scholarship: Fangzhou Feng, Cleveland Institute of Music 3rd Place, Clarenz J. Lightfritz Scholarship: Prudence Poon, Oberlin Conservatory Strings—adjudicated by Hanne-Berit Hahnemann, concert violinist 1st Place, Arden J. Yockey Scholarship: Ann Yu, violin, Cleveland Institute of Music 2nd Place, Tuesday Musical Scholarship: Sarah Schoeffler, cello, Mannes College of Music 3rd Place, Barbara Ainsworth Porter Scholarship: Paul Kim, violin, Oberlin Conservatory Voice—adjudicated by Marla Berg, Kent State University 1st Place, Arden J. Yockey Scholarship: Michael Floriano, Oberlin Conservatory 2nd Place, Tuesday Musical Scholarship: Lauren Corcoran, The University of Akron 3rd Place, Tuesday Musical Scholarship: Morgan Griffith, Oberlin Conservatory Woodwinds—adjudicated by Mary Kay Robinson, Panoramicos 1st Place, Arden J. Yockey Scholarship: Jaewon Kim, clarinet, Cleveland Institute of Music 2nd Place, Gleason/Rea Scholarship: Vincenzo Volpe, flute, Case Western Reserve University 3rd Place, Tuesday Musical Scholarship: Amanda Dame, flute, Oberlin Conservatory tuesdaymusical.org n 330.761.3460

Program Notes Wolfgang Amadeus Mozart (1756-1791) “L’amerò, sarò costante” from Il re pastore

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ozart composed the opera Il re pastore with a libretto by Metastasio in 1775 as a commission to honor the visit of Archduke Maximilian Francis of Austria, the youngest son of Empress Maria Theresa, to Salzburg. It made its premiere at the Palace of the Archbishop Count Heironymus von Colloredo.

In the plot, Aminta, a shepherd and unknowingly the rightful heir to Sidon, is in love with Elisa. After the tyrant Stratone is out of the way, King Alessandro of Macedonia begins searching for the rightful heir to the throne and Elisa’s father gives her permission to marry Aminta, who learns that he is the rightful heir.

Alessandro tells Aminta that when he becomes king, his royal duties come before love despite his love for Elisa; eventually, however, he tells Aminta to marry Elisa.

At the opera’s end, Aminta is crowned king.

“L’amerò sarò costante,” a beautiful testament to devotion to a beloved, comes from Act II, and is the most famous aria from the opera. Aminta, the shepherd, sings, giving his poignant expression of his love, as Elisa pleads with Alessandro to let her marry him. Composed as a duet between Aminta (a castrato part) and a solo violin, the aria begins with a short introduction for the solo violin and orchestra. In the aria proper, the violin and the voice never compete or collide as Mozart gives the violin its solo parts in the spaces between the vocalist’s phrases. In triple time and an Andantino tempo, the aria is a beautiful affirmation of devotion to a loved one.

Franz Schubert (1797-1828) Sonata for Violin and Piano

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chubert was not unknown during his short lifetime, but never really had an important place in public musical life. He died only sixteen months after Beethoven, but each composer inhabited a different Vienna. Schubert, unlike Haydn, Mozart, and Beethoven, had no support from wealthy families, although he did spend two summers in Hungary as a music teacher to the Esterházys. Although he had some influential friends, he lived mostly as a lower class Presenting the Finest

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Viennese, with a very simple lifestyle. He congregated with friends his age, many talented and some from wealthy families, and they attended public musical events and admired the famous musicians, especially Beethoven, from a distance. In his short life, he wrote about 600 songs and almost 1000 more compositions in almost every form that existed in his time.

Schubert loved the violin, and in his youth played it well, but it was only during two brief and widely separated periods of his life, 18161817 and 1826-1827, that he wrote any solo violin music. That music always has charm and is often beautiful, and in this sonata, it has both gravity and weight as well. Schubert composed this work when he was twenty for some occasion, now forgotten, in August 1817; by that time, Schubert had already composed five symphonies, many chamber works and songs. He probably composed the work for his friends, who played it once then put it aside, and thus it was forgotten. The manuscript disappeared until around 1851, when his brother Ferdinand discovered it, at which time it was first published under the title Duo. The work was entitled with the simple designation Duo probably because the publisher feared that the word “sonata” with its more serious implications might frighten off potential buyers. If this hypothesis is accurate, some of those early customers who bought the music because it was “only” a duo must have been surprised when they read through it, for it is forceful work that demands great technical skill as well as profound musical understanding.

The gently paced and lengthy first movement, Allegro moderato, is especially rich in ideas. The piano’s melodic opening phrase turns out to be the accompaniment of a glorious long, soaring melody for the violin, as well as the outline of the second theme, which is an embellishment of the introduction. A whole series of new melodic fragments pours forth one after another before the movement ends with a recapitulation of its beginning.

Next comes a lively Scherzo, Presto, sparkling and swinging with a rhythmic freedom that recalls the music of Beethoven. The contrasting 13

Program Notes central trio section is built out of little more than an extended chromatic scale for the violin. The slower third movement, Andantino, opens and closes with a simple and lyrical melody, but its middle section has a mysterious, pensive and dramatic character. It includes one of the earliest instances of a very Schubertian technique sometimes called the “hairpin” because the music stops suddenly and dramatically, and then begins again, with a complete change of character.

The last movement, Allegro vivace, with its startling contrasts, consists of material that seems to be derived from or closely related to earlier parts of the work, especially the second movement scherzo, in the manner of the less strictly formal sonatas that Schubert sometimes called Fantasies. It has a cheerful, lively theme and a joyful spirit.

Antonín Dvořák (1841-1904) Gypsy Songs

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vořák composed Gypsy Songs at the request of Gustav Walter, a leading tenor at Vienna’s Hofoper, who often sang Dvořák’s songs at his concerts and desired him to write a new work just for him. Gypsy Songs was completed in January 1880 and was premiered by Walter in Vienna on February 4, 1881.

The composer chose seven poems from Poems by Adolf Heyduk, (1835– 1923) but in deference to Walter and to the commercial potential for his Berlin publisher Simrock, he set the poems not in their original Czech but in German, using a translation prepared by the poet himself. Soon after they were published, they were also brought out in a Czech version, with an English translation.

At that time, Dvořák was influenced by romantically idealized gypsy themes, especially poems grounded in folk verse and which celebrated the freedom of Roma or gypsy life.

The gypsy was a familiar romantic symbol that represented emancipation from bourgeois fetters. This kind of poem fervently emphasizes the bond between man and nature, as well as man’s elemental need for music. Thematically, it extols freedom as something to be valued above anything else; these poems and their musical settings have also often been understood to be, by implication, allegories of Czech attempts to 14

gain independence from Habsburg repression.

Gypsy Songs is considered the pinnacle of Dvořák’s song writing because of the strong connection he creates in these between the vocal part and the accompaniment. The poems were selected and arranged to achieve contrast and to express many moods. The piano part, much more than the vocal part, contains elements typical of folk songs, in particular the sound of the cimbalom that was familiar to the composer from the Hungarian Gypsy bands he often heard in Prague; however, the rhythms and melodies owe more to Bohemian and Moravian folk music than to Gypsy style. The songs are mostly strophic songs with harmonic or melodic alterations when the stanzas are repeated; sometimes a short coda is added.

Each of the seven songs contains a romantic evocation of some aspect of the idealized wanderer’s life. The first song, “My song sounds of love” (Ma pisen zas mi laskou zni) features an “exotic” Gypsy scale and takes a tender modulation from minor to major for its middle verse, combining joy with yearning. The next song “Hah, how my triangle is ringing” (Aj, kterak trojhranec muj) is a gay Czech folk dance with a pensive feeling in the postlude.

The third, “The forest is quiet all around” (A les je tichy kolem kol) pays a debt to Brahms. The most popular song is the fourth: “Songs my mother taught me” (Kdyz mne stara matka) which has a strong emotional impact and is one of the most frequently performed songs in the concert repertoire. The next two, “The string is tuned” (Struna naladena) and “Wide sleeves” (Siroke rukavy) celebrate the carefree gypsy life with Czech dance rhythms, while the final song, “Give a hawk a cage” (Dejte klec jestrabu) exults in the gypsy’s freedom and yet is colored with a sense of yearning. Dvořák varies the accompaniment for each verse, creating a fervent climax as the gypsy credo “to be free forever” is invoked.

Benjamin Britten (1913-1976) Suite for Violin and Piano

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ngland’s greatest 20th century composer, Benjamin Britten, was born in 1913 on the feast day of Saint Cecilia, the patron saint of music. He made his first attempts at composing at the tender age of five, and a few years later tuesdaymusical.org n 330.761.3460

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could accompany songs at the piano. While still a youth, he studied piano and composition with some of the most distinguished musicians in England, and in 1930, at the age of seventeen, he entered the Royal College of Music. Before long, he felt the formal curriculum there to be too restrictive for him, and he left, bravely setting out to pursue an independent career as a composer.

Before the young Benjamin Britten landed a position in 1935 scoring films for a small documentary company, he took an extended trip to Europe in 1934 with his mother, travelling around the continent to try to make some useful musical contacts.

During this trip he began writing the Suite for Violin and Piano, which has the early Opus number 6. In November, he began the composition in Vienna and quickly, in two days, finished the March.

He sketched more of it on the trip, and in December, back in England worked on it some more but encountered problems that caused him not to finish the five movements plus introduction completely for a total of nine months.

On his return he wrote about his travails in his diary, saying he returned to “unpack and sort out things and try to clear my brain a bit about this wretched violin and pft [pianoforte] suite.

Do decide on a slow movement, and do a bit of work in the morning & aft.” Two days after this entry, he completed the Lullaby and after much rewriting, three movements, the March, the Lullaby and the Waltz (probably inspired by his stay in Vienna) were first performed by Henri Temianka and Betty Humby at Wigmore Hall in London on December 17, 1934.

By 1935, he had added the Moto Perpetuo and the short Introduction. With the Spanish violinist Antonio Brosa, he gave several informal performances of the revised and enlarged work, including one for the composer Frank Bridge who “gave me a long, instructive and very valuable talk.” The Suite made its official premiere at the ISCM Festival in Barcelona in 1935 with Brosa and the composer performing.

Britten has an innovative way of highlighting the violin’s natural acoustic properties in this fivemovement virtuosic work, which many consider to be an introduction of the characteristic voice that makes Britten’s music both recognizable and memorable. The Suite begins with a very short Introduction, presenting two significant pitch figurations: a descending whole tone scale, Presenting the Finest

that then ascends in large leaps and a motive presented by the piano’s interjections. Before a minute has passed, he has transitioned to a bouncy Allegro maestoso in the form of a witty march transforming the four-note figure from the introduction into melodic material. In this movement, the violin and piano interact in a manner that sounds very much like Stravinsky.

With intensity throughout, the next movement, a breath-taking Moto Perpetuo, features a running string of 16th notes going back and forth between the two instruments. Spiky accents in both parts make the music, filled with wit and humor, asymmetrical and unpredictable. The lyrical and tender Lullaby makes a complete contrast to what has come before with its introspection and its recitative-like style, while the energetic Waltz has a series of slower and more distorted parodies of waltzes at its center. As the work concludes, it pauses to recall the two original figures from the Introduction, and then it rushes to a close.

Throughout, Britten experiments with many techniques: left hand pizzicato used at the same time as bowing, creative use of harmonics, glissandi (slides), open string resonance in double stops, and percussive-rhythmic timbres executed with the bow.

Benjamin Britten Three Songs from The Poet’s Echo Op. 76

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ritten wrote the cycle The Poet’s Echo during a holiday that he and Peter Pears spent in the Soviet Union. They stayed at the Composers’ Union in Dilizan, Armenia with Galina Vishnevskaya and Mstislav Rostropovich, during August 1965. By this time, Britten had already written several works for Rostropovich and had created the soprano solo in his War Requiem for Vishnevskaya. Britten had previously dedicated several compositions for cello to Rostropovich. Britten had wanted Vishnevskaya to sing the soprano part in the 1962 premiere of his War Requiem but the Soviet authorities refused her a visa to travel outside the Soviet Union. She and Rostropovich gave the formal premiere of The Poet’s Echo in the Small Hall at the Moscow Conservatory on December 2, 1965, by which time the composer had returned to England. The cycle is dedicated to ‘Galya and 15

Slava’ (Galina Vishnevskaya and her husband Mstislav Rostropovich.)

Britten chose Pushkin poetry for his songs, but did not read Russian fluently and brought a bilingual edition of Pushkin with him to Armenia. Russian critics have agreed that Britten “succeeded in penetrating the very heart of the verse” even though his knowledge of Russian was minimal. The work’s main theme, the poet’s aim to evoke some response from a world that does not understand him, is immediately addressed from the very beginning of the cycle in the first song, “Эхо” “Echo.”

The second song, “Я думал, сердце позабыло” “My heart” touches on what is reputed to have been a preoccupation of Britten’s with the heartache aroused by the presence of great beauty.

The fifth song in the cycle, “Стихи, сочинённые ночью во время” “Lines written during a sleepless night” also deals with the cycle’s main theme, and ends the cycle with an uncomfortable sense of uncertainty. The strange circumstances of a private performance of the cycle, in the Pushkin House, towards the end of their trip to Russia, has added to the disturbing quality of the song, as Pears later recalled in his Armenian Holiday diary: “The last song of the set is the marvelous poem of insomnia, the ticking clock, persistent night-noises and the poet’s cry for a meaning in them. Ben has started this with repeated staccato notes high-low high-low on the piano.

Hardly had the little old piano begun its dry tick tock tick tock, than clear and silvery outside the window, a yard from our heads, came ding, ding, ding, not loud but clear, Pushkin’s clock joining in his song. It seemed to strike far more than midnight, to go on all through the song, and afterwards we sat spellbound.”

Vishnevskaya told another version of this memorable evening in the fall of 1965 when Pears and Britten performed the songs at the Pushkin House: “The room was cloaked in semidarkness – only two candles burned. [...] The moment Ben [Britten] started to play the prelude [of “Lines Written During a Sleepless Night”], which he had written to suggest the ticking of a clock, Pushkin’s clock began to strike midnight, and the twelve strokes chimed in synchrony with Ben’s music. We all froze. I stopped breathing and felt my scalp prickle. Pushkin’s portrait was 16

looking straight at Ben. He was shaken and pale, but didn’t stop playing.” Pears confirmed this incident in his diary, but he did not extrapolate to the same extent.

Pyotr Ilyich Tchaikovsky (1840-1893) “Frenzied Nights”, Op. 60 No. 6

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chaikovsky was never known for his vocal composition, but he composed more than 100 songs interspersed throughout his career: his first was also his first composition and surprisingly enough, his last completed work was also a song. He published most of his songs in groupings of six and wrote most not from artistic impulse, but with a specific purpose in mind, to supplement his income. His publisher certainly encouraged him to write songs because they sold well, much more readily than his symphonies or ballets.

Whatever the motivation for composing them, the results of his song writing were definitely formidable. In them, Tchaikovsky created many serious works, adding to a tradition whose foundations were laid in the 1820s in the songs of Mikhail Glinka, the father of Russian music. Although Tchaikovsky occasionally used translations of foreign poems, mostly he set texts of native Russian poets. His highly diverse songs include romances, dance songs, dramatic ballads, songs based on folksong, songs motivated by the music of the gypsies, and some touched with the flavor of the orient.

Op. 60, No. 6 is one of a set of twelve songs, composed in 1886-9, dedicated, at her request, to the Empress. “Frenzied Nights” is a setting of a poem by Apukhtin detailing the pains and pleasures that love can produce.

Op. 6, No. 2, was one of the six songs of Op. 6, Tchaikovsky’s first published collection of songs, written once his formal musical training at the St. Petersburg Conservatory was complete.

It includes settings of verses by contemporary Russian writers, with three translations of German poems. No. 2 is based on an original poem by Moritz Hartmann, “Not a word, my friend,” which laments the fact that happiness is no longer there. “Not a Word, my friend” is an elegy, in which the repeated image of willows bending expresses a forgiving tenderness.

The lovely “Lullaby”, Op. 16, No. 1, composed tuesdaymusical.org n 330.761.3460

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in 1872, takes its words from Greek folk poetry.

Here melody and a counter melody have a rocking piano accompaniment.

In 1880 Tchaikovsky composed the 1812 Overture and the Serenade for Strings as well as his song cycle, Op. 47. “Does the day reign?” Op. 47, No. 6, is the penultimate song in the set of seven songs composed in 1880. With a text by Apukhtin, the frenzied protagonist, to an agitated accompaniment, announces that no matter what the world gives one, it is only love that matters.

Sergei Rachmaninov (1873-1943) “Do not sing, o beauty...” Op. 4, No. 4

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T

he Russian poems that Rachmaninov set to music in his songs have been subjected to so many and so varied translations as to prove that the beauty of the music transcends the meaning of the words. Although many of the 19th century Russian composers of the School of Moscow and Saint Petersburg took their inspiration from the folksongs of the country, unlike Tchaikovsky, Rachmaninov did not draw his musical impetus from folksongs. Instead of adapting the nationalistic themes, be used the rhythmic and harmonic elements intrinsic to Russian music and created his own vocal lines. All of his songs (eighty-three in number) were composed before he emigrated from Russia in 1917.

More than any other subject, Rachmaninov chose the romance and thus he chose lyrics of emotion, from the desperately unhappy to the ecstatic; he often wrote songs for lyrics that declared rapture at the world of nature. Many of his songs are very small in structure as well as short in length.

Rachmaninoff’s first song to use a text by Pushkin, “Do not sing, o beauty...” has a folk-like simplicity that is much like that of Borodin. This lovely setting tells the story of a poet who asks his loved one to stop singing the traditional songs of Georgia; when she sings these songs his only emotion is sorrow. © Susan Halpern, 2016.

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Program Notes Antonin Dvorak Gypsy Songs, Op. 55 1. My song again rings to me with love When the old day dies, And when the poor moss secretly gathers pearls into its guise.

My song so lovingly rings into the country When I wonder through the world; Only through the vastness of my native land Does my voice flow freely from my bosom.

My song sounds loudly with love When the storm hurries through the flatland, When I am glad, that my brother is free from poverty when it is his time to die.

2. Hey! How my triangle passionately rings, Like a gypsy’s song, when he draws near to death!

When he draws near to death, the triangle rings to him End of song, of dance, of love, of lament, End of song, of dance, of love, of lament.

3. The woods are silent all around, Only my heart disturbs the peace, And black smoke, which hurries into the valley Dries up tears on my cheeks.

However, it does not have to dry them.

Let it blow on another cheek!

Who in sorrow can sing, Does not die, that person lives, lives!

4. When my old mother taught me to sing, It is strange that often, often she cried.

And now I also by weeping Torment my swarthy face, When I teach gypsy children to play and sing, to play and sing!

5. String is tuned, Boy, spin in a circle!

Today, maybe today very high, Tomorrow again down!

The day after tomorrow At the Nile at the sacred table!

String is already, string is already tuned!

Boy, spin around! Boy, spin in a circle!

6. Wide sleeves and wide trousers Are more free to the gypsy than a gold dolman.

Dolman and that gold constricts an exuberant heart, Beneath him a free song violently dies.

And you, who are joyful when your song is in bloom, Wish that gold would be extinct in the whole world!

7. Give a hawk a cage made from pure gold— He will refuse to exchange it for his thorny nest.

To a wild horse that gallops through wilderness you will seldom manage to hitch a bridle and stirrup.

And so also to the gypsy, nature gave something: Through an eternal bond with freedom, With freedom, it bound him.

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Benjamin Britten Three songs from “The Poet’s Echo” The original poetry is by Alexander Pushkin 1. The Echo.

From leafy woods the savage howl, A distant horn, the thunder’s roll, A maiden singing up the hill, To every sound, to every sound Your answering cry the air doth fill In quick rebound, in quick rebound.

You listen for the thunder’s voice, The ocean wave’s wild stormy noise, The distant mountain shepherd’s cries You answer free, you answer free, you answer free; To you comes no reply, to you comes no reply.

Likewise O poet to thee!

2. “My Heart...”

My heart, I fancied it was over, That road of suffering and pain, And I resolved: ’Tis gone for ever, Never again! Never again!

That ancient rapture and its yearning, and its yearning, The dreams, the credulous desire …

But now, but now old wounds have started burning Inflamed by beauty and her fire.

6. “Poems, written during a sleepless night” Sleep forsakes me with the light; Shadowy gloom and haunting darkness; Time ticks on its way relentless And its sound invades the night.

Fateful crones are at their mumbling, Set the sleepy night a-trembling, Scurrying mouse-like, life slips by …

Why do you disturb me, say?

What’s your purpose, tedious whispers?

Do you breathe reproachful murmurs At my lost and wasted day?

What is this you want to tell me?

Do you prophesy or call me?

Answer me, I long to hear!

Voices, make your meaning clear …

Sergei Rachmaninov “Do not sing, o beauty...” Op.4, No. 4 Do not sing, Oh Beauty, before me, The melancholy songs of Georgia!

For they remind me Of a different life, of a distant shore.

Alas, they remind me, Your cruel melodies, Of the steppes, and night, And under a moonlight—of features of a faraway, poor maiden.

That specter, beloved and fateful, I forget when I see you.

But then you sing—and in front of me I imagine it once more.

Do not sing, Oh Beauty, before me, The melancholy songs of Georgia!

For they remind me Of a different life, of a distant shore.

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2016-2017 Support: Individuals

T

uesday Musical gratefully acknowledges all donors this season. Because ticket sales cover only a small portion of what is needed to sustain the excellence of Tuesday Musical, every gift plays a significant role in the ongoing success of our Main Stage and Fuze concert series and Education and Community Engagement Programs.

This list reflects gifts received through October 4, 2016.

Director $5,000+ Stephen T. and Mary Ann Griebling Cynthia Knight “Three Graces Piano” — Anonymous Benefactor $1,500 to $4,999 Anne Alexander Diana and John Gayer Dr. DuWayne and Dorothy Hansen David and Margaret Hunter Peter and Dorothy Lepp Natalie, Paul and Stephen Miahky Donald and Corrinne Rohrbacher Lola Rothmann Dr. Pamela Rupert Dr. Kenneth E. Shafer Tim and Jenny Smucker Tom and Meg Stanton Sustainer $700 to $1,499 Eleanor and Richard Aron Denis and Barbara Feld Robert and Beverley Fischer Laurie and Mark Gilles Sue Jeppesen Gillman Howard Greene Jarrod Hartzler Bruce and Joy Hagelin Dr. Tom and Mary Ann Jackson Paul and Linda Liesem Charles and Elizabeth Nelson Dianne and Herb Newman George Pope Dr. Pat Sargent Richard Shirey Dr. Larry and Cyndee Snider John P. Vander Kooi Lucinda Weiss Janet Wright Patron $400 to $699 Drs. Mark and Sandra Auburn Lee and Floy Barthel John and Betty Dalton Nichole Depew Paul Filon Lois and Harvey Flanders Patricia Hartzler Mary Jo Lockshin

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Tom and Cheryl Lyon Paul and JoAnn Marcinkoski Anita Meeker Russ and Marianne Miller Earla Patterson Ed and Maureen Russell Rachel R. Schneider Jean Schooley Annaliese Soros Drs. Frederick and Elizabeth Specht Donor $200 to $399 Anonymous Anna Maria Barnum John and Jeanette Bertsch Cheryl Boigegrain Dr. Guy and Debra Bordo Frances Buchholzer Alan and Sara Burky Rebecca D. and William H. Considine Dr. Herb and Jill Croft William and Barbara Eaton Jon A. Fiume Eleanor Freeman Jean F. Gadd Ted and Teresa Good Stephen and Mary Ann Griebling Michael T. Hayes John and Suzanne Hetrick Loren Hoch John and Sheila Hutzler Mark and Karla Jenkins Susan and Allen Kallor Kathleen Lambacher Magdalena McClure Nathan J. and Karen L. Mortimer Bob Neidert Al and Judy Nicely Paula Rabinowitz and Greer Kabb-Langkamp Ben and Sandra Rexroad Drs. Betty L. Rider and W. Mike Sherman Gloria J. Rodgers Donald E. Schmid and Rosemary Reymann Betty and Joel Siegfried Margo Snider Mike and Sandy Soful Ann Tainer Bob and Colleen Tigelman Susan D. Van Vorst Jorene F. Whitney Christopher Wilkins

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2016-2017 Support: Memorials & Tributes Memorial and tribute gifts to Tuesday Musical are meaningful ways to honor special people.

This list reflects gifts received through September 9, 2016.

In Memory of Natalie Altieri

In Memory of David Meeker

Paul and JoAnn Marcinkoski Thomas and Sue Tuxill

Drs. Mark and Sandra Auburn Susan Bailey Floy and Lee Barthel Patricia Basile William P. Blair III Maryanne Buchanan Elizabeth Butler Betty Dalton William and Barbara Eaton Roger and Ann Edwards Denis and Barbara Feld Chuck and Judy Gerdes Carol Goodall Joy and Bruce Hagelin Larue Hall Jarrod Hartzler Dr. Tom and Mary Ann Jackson Jon and Martha Kelly Francis and Earline Lenkowski Peter and Dorothy Lepp Barbara MacGregor Natalie Miahky Elizabeth Sandwick Virginia Scott Ken and Pat Suchan Mary Yeager

In Memory of Alfred Anderson Denis and Barbara Feld Dr. DuWayne and Dorothy Hansen Zenon and Natalie Miahky In Memory of Jeanette Bertsch Linda Carr Robert and Beverley Fischer Eleanor Freeman Tom and Mikki Green Jarrod Hartzler DuWayne and Dorothy Hansen Dorothy and Peter Lepp Anita Meeker In Honor of Mary Ann and Stephen Griebling’s 60th Anniversary Bob and Beverley Fischer Bruce and Joy Hagelin In Honor of Joy Hagelin, Barbara Eaton and Anita Meeker Barbara Feld In Memory of Eileen “Tootie” Hawk Barbara Feld In Memory of Eugene Mancini Toshie Haga

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In Memory of Zenon Miahky Betty Dalton Robert and Beverley Fischer Laura Lee Garfinkel DuWayne and Dottie Hansen Jarrod Hartzler Dorothy and Peter Lepp Anita Meeker Walter Pechenuk

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2016-2017 Support: Foundations, Corporations & Government Agencies Tuesday Musical thanks these foundations, corporations and government agencies for their support. $25,000+

$200 to $999

GAR Foundation

KeyBank Foundation Community Leadership Fund The Maynard Family Foundation W. Paul Mills and Thora J. Mills Memorial Foundation The Laura R. and Lucian Q. Moffitt Foundation The Richard and Alita Rogers Family Foundation

The John S. and James L. Knight Foundation The Margaret Clark Morgan Foundation Louis S. & Mary Myers Foundation Ohio Arts Council $10,000 to $24,999 Community Fund – Arts & Culture of the Akron Community Foundation C. Colmery Gibson Polsky Fund of Akron Community Foundation John A. McAlonan Fund of Akron Community Foundation $5,000 to $9,999 Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust The Charles E. & Mabel M. Ritchie Memorial Foundation The Lloyd L. & Louise K. Smith Foundation The Welty Family Foundation $1,000 to $4,999 Akron/Summit Convention & Visitors Bureau Arts Midwest Touring Fund Kenneth L. Calhoun Charitable Trust, Keybank, Trustee The Lehner Family Foundation The R. C. Musson and Katharine M. Musson Charitable Foundation OMNOVA Solutions Foundation The Sisler McFawn Foundation

Corporate Partners Akron Tool & Die Co. Nelson Development In-kind Services Akron Beacon Journal ClevelandClassical.com Cogneato Hilton Akron/Fairlawn ideastream® Labels and Letters Mustard Seed Market & Café Sheraton Suites Akron/Cuyahoga Falls Steinway Piano Gallery - Cleveland The University of Akron School of Music WKSU FM Wooster Color Point WYSU-FM

Proud Supporter of

Tuesday Musical 3 locations Highland Square (Akron) Montrose (Akron) Solon (East Cleveland)

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2016 2016–– 2017 2017 concert concert SeaSon SeaSon October October 16, 2016 2016 Winner Winner2016 2016International International Piano PianoCompetition Competition NIKITA NIKITA MNDOYANTS MNDOYANTS November November 6, 6, 2016 2016 Featured Featured Young Young Artist Artist The TheheIMAT heIMAT STrINg STrINg QuArTeT QuArTeT Patrick PatrickShaughnessy, Shaughnessy, violin; Aubrey AubreyHolms, Holms,violin; violin; Chung ChungHan HanHsiao, Hsiao, viola; Aaron AaronFried, Fried,cello cello February February 12, 12, 2017 2017 The TheClevelAND ClevelAND BluegrASS BluegrASS OrCheSTrA OrCheSTrA Mark MarkDumm, Dumm,banjo; banjo; Henry Henry Peyrebrune, Peyrebrune,guitar; guitar; Trina TrinaStruble, Struble, fiddle; fiddle; Derek Derek Zadinsky, Zadinsky,bass; bass; Jeff JeffZehngut, Zehngut, mandolin, mandolin,sax sax March March 12, 2017 2017 BlACK BlACK SQuIrrel SQuIrrel WINDS WINDS Danna DannaSundet, Sundet, oboe; oboe; Diane Diane McCloskey, McCloskey,flute; flute; Amitai AmitaiVardi, Vardi,clarinet; clarinet; Mark Mark DeMio, DeMio,bassoon; bassoon; Kent Kent Larmee, Larmee, horn horn April April 9, 2017 2017 OMNI OMNI STrINg STrINg QuArTeT QuArTeT Yung-Min Yung-MinAmy Amy Lee, Lee, violin; violin; Alicia AliciaKoelz, Koelz,violin; violin; Tanya TanyaEll, Ell,cello; cello; Joanna Joanna Zakany, Zakany,viola viola

For For TickeTs TickeTsand andinFormaTion: inFormaTion: visiT visiT MFTWR.oRg MFTWR.oRgor orcall call330-840-8429 330-840-8429

AllAllconcerts concertsbegin beginat at5:00 5:00 p.m. at at Christ ChristChurch ChurchEpiscopal.

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tuesday musical 2016-2017 Executive Board of Directors

Executive Committee

President Laurie Gilles Vice President/President Elect Paul Filon

Treasurer Cheryl Lyon

Secretary Magdalena McClure

Governance Committee Chair Bob Fischer

Committee Chairs

Brahms Allegro Chair Cheryl Boigegrain

Development Chair Charles Nelson

Education/Student Voucher Chair Natalie Miahky

Finance Chair Cheryl Lyon

Hospitality Co-Chairs Barbara Eaton & Joy Hagelin

Membership Chair Anita Meeker

Member Program Chair Mary Ann Griebling

Scholarship Chair George Pope

At-large Members Linda Liesem, Teresa Good,

& Mary Jo Lockshin Staff

Executive & Artistic Director Jarrod Hartzler

Director of Development & Communications Cyndee Snider

Artistic Administrator Karla Jenkins

Finance Administrator Gail Wild

Arts Administration Intern Moneeb Iqbal Program art direction by Live Publishing Co.

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