2015-16 Concert Season
PRESENTING THE FINEST
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PRESENTING THE FINEST
2015-16 Concert Season SEPTEMBER 30, 2015
Escher String Quartet OCTOBER 27, 2015
David Finckel Wu Han Philip Setzer NOVEMBER 18, 2015
Conrad Tao
FEBRUARY 9, 2016
Marina Piccinini Andreas Haefliger MARCH 11, 2016
The Academy of St. Martin in the Fields with Joshua Bell APRIL 21, 2016
Gregg Kallor Adriana Zabala All concerts are presented at EJ Thomas Hall, The University of Akron, 7:30 PM
For Tickets 330.761.3460 tuesdaymusical.org
Tuesday Musical presents David Finckel, Wu Han and Philip Setzer 2nd Part of Beethoven Cycle
J
oin us for the second concert in a two-part series exploring the complete Beethoven piano trio cycle. The concert will include the Piano Trio in G Major, Op. 1, no. 2, Piano Trio in D Major, Op. 70, No. 1 “Ghost” and Piano Trio in E-flat Major, Op. 70, No. 2. Named Musical America’s 2012 Musicians of the Year, cellist David Finckel and pianist Wu Han rank among the most esteemed and influential classical musicians in the world today. David Finckel and Wu Han serve as Artistic Directors of both the Chamber Music Society of Lincoln Center and Music@Menlo, a Silicon Valley chamber music festival founded in 2003. Violinist Philip Setzer remains a member of the Emerson String Quartet. Their appearances take them to the world’s most prestigious concert series and festivals.
Tuesday, October 27, 2015 Join Philip Setzer and Wu Han for a pre-concert lecture
tuesday musical
concert series
The University of Akron EJ Thomas Performing Arts Hall Wednesday, September 30, 2015, 7:30 pm
Escher String Quartet Adam Barnett-Hart, violin Aaron Boyd, violin Pierre Lapointe, viola Brook Speltz, cello Franz Schubert
Quartet in C minor, D. 703 “Quartettsatz”
1797-1828 Felix Mendelssohn
Allegro assai
Quartet in E minor, Op. 44, No. 2
1809-1847
Allegro assai appassionato
Scherzo; Allegro di molto
Andante
Presto agitato INTERMISSION
Alexander Zemlinsky
Quartet No. 2, Op. 15
1871-1942
Sehr mässig. Heftig und leidenschaftlich
Adagio Schnell Andante Langsam
EXCLUSIVE MANAGEMENT: Arts Management Group, Inc., 130 W. 57th St., New York, NY 10019 Discography: NAXOS, BIS
Concert Sponsor:
Season Support:
Escher String Quartet Adam Barnett-Hart, violin; Aaron Boyd, violin; Pierre Lapointe, viola; Brook Speltz, cello
T
he Escher String Quartet has received acclaim for its profound musical insight .and rare tonal beauty. Championed by the Emerson String Quartet, the group was a BBC New Generation Artist from 2010-2012, giving debuts at both Wigmore Hall and BBC Proms at Cadogan Hall. In its home town of New York, the ensemble serves as Artists of The Chamber Music Society of Lincoln Center, and in 2012/2013 presented a critically acclaimed 3-concert series featuring the quartets of Benjamin Britten. In 2013, the quartet became one of the very few chamber
ensembles to be awarded the prestigious Avery Fisher Career Grant. Within months of its inception in 2005, the Escher Quartet was invited by both Pinchas Zukerman and Itzhak Perlman to be Quartet in Residence at each artist’s summer festival: the Young Artists Programme at Canada’s National Arts Centre; and the Perlman Chamber Music Programme on Shelter Island, NY. The quartet has since collaborated with artists including David Finckel, Leon Fleischer, Wu Han, Lynn Harrell, Cho Liang Lin, David Shifrin and guitarist
tuesday musical concert series 2015 | 2016
Jason Vieaux. Last season, the Escher Quartet undertook an extensive UK tour with pianist Benjamin Grosvenor. The Escher Quartet is increasingly making a distinctive impression throughout Europe as it builds important debuts into its diary and receives consistently high acclaim for its work. Recent such engagements have included the Concertgebouw in Amsterdam, the Auditorium du Louvre in Paris and the Conservatoire de Musique in Geneva among others. In 2013, the group’s first appearance at Israel’s Tel Aviv Museum of Art resulted in an immediate re-invitation, and its performance at London’s Wigmore Hall was followed by an invitation to establish a regular relationship with the venue. The current season sees further significant debuts at London’s Kings Place, Berlin’s Konzerthaus and Slovenian Philharmonic Hall in Ljubljana, as well as Great Music in Irish Houses and the Risør Festival in Norway. Alongside its growing European profile, the Escher Quartet continues to flourish in its home country, performing at Alice Tully Hall in New
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York, Kennedy Center in Washington DC and Ravinia and Caramoor festivals. Last season saw a critically acclaimed debut at Chamber Music San Francisco and an appearance at Music@ Menlo in California. Elsewhere, the group gave its first Australian performances at Perth International Arts Festival in 2012, and this season makes its debut at the Hong Kong International Chamber Music Festival. Adding to the current season is the quartet’s involvement in the education of young musicians, with coaching activities at Campos do Jordão Music Festival in Brazil and the Royal Academy of Music in London. The quartet has recorded the complete Zemlinsky String Quartets on the Naxos label, releasing two highly acclaimed volumes in 2013 and 2014 respectively. Forthcoming releases include the complete Mendelssohn Quartet cycle on the BIS label. The Escher Quartet takes its name from Dutch graphic artist M.C. Escher, inspired by Escher’s method of interplay among individual components working together to form a whole.
Program Notes Franz Schubert (1797-1828) Quartet in C minor, D. 703 “Quartettsatz”
C
omposed in December of 1820, the Quartettsatz of Franz Schubert was not published until nearly 40 years after his death (thanks to the efforts of no less than Johannes Brahms!). Despite this, and despite its relative brevity, it was with this “Quartet Movement” that Schubert announced the beginning of his last, and greatest period of composition. The teenage Schubert had written some 11 quartets already, often played by his family and friends. But the tragic, compact nature of the “Quartettsatz,” with its dramatic contrasts, restless, turbulent opening and lyrical second theme suggest the powerful influence of Beethoven, and foreshadow Schubert’s own astounding later quartets such as the “Death and the Maiden” and “Rosamunde.” Schubert probably never heard this work performed. Ignaz Schuppannzigh, primarius of the eponymous quartet with whom Beethoven entrusted the premier of many of his quartets, scolded young Schubert, told him to “stick to his songs ...” We should be eternally grateful that Schubert ignored this advice. – Aaron Boyd
Felix Mendelssohn (1809-1847) Quartet in E minor, Op. 44, No. 2
I
n March of 1837 Felix Mendelssohn married Cécile Jeanrenaud, and during their restful honeymoon that summer he composed the String Quartet in E minor, Op. 44 no. 2. The other two quartets in the Op. 44 set (No. 1 in D major and No. 3 in E-flat major) were composed the following year. To understand why Mendelssohn did not choose to lead off the cycle in chronological order with the E minor quartet, one only need listen to its opening bars. Its brooding melancholy has none of the optimistic sparkle of the other two quartets in this cycle and this gives the listener a sense of uneasiness and inner turmoil from its very first notes. The Op. 44 quartets are
tuesday musical concert series 2015 | 2016
often lumped into a category of Mendelssohn’s middle period music referred to as “classicizing,” or a reactionary turn away from his precocious and experimental youthful compositions to the textures and simplicity of Haydn and Mozart. However, the Romantic intensity of the opening movement alone undoubtedly sets Op. 44 no. 2 apart from the other two in the set. That being said, this should not be misconstrued as a foreshadowing of the fate of Mendelssohn’s marriage, which proved to be a very happy one. The second movement is a quintessential example of Mendelssohn’s unique gift for champagne-popping good humor – he gives us a scurrying, elfin scherzo, sprinkled with just a hint of tongue-in-cheek pathos with a couple of lyrical viola solos. A sweet, tranquil “song without words” (another of Mendelssohn’s specialties) serves as the third movement, filled with transparent, weaving textures and soaring vocal melodies. The finale marks a return to the stark mood of the first movement. It is set as a moto perpetuo, relentlessly driving to a massive buildup before its stark close. Thus, the outer movements bookend Op. 44 no. 2 with an emotional intensity not yet heard in Mendelssohn’s chamber music. – Brook Speltz
Program Notes Alexander Zemlinsky (1871-1942) Quartet No. 2, Op. 15
T
he Second String Quartet of Alexander Zemlinsky is an epic piece. It surpasses .most of the string quartets ever written in size and in scope. Only a few through-composed quartets such as Beethoven’s Op. 131, Schoenberg’s Op. 7, Wolf’s D Minor, Josef Suk’s Op. 31 and Carter’s First String Quartet can withstand comparison. In 1913, Zemlinsky started to write his second quartet, taking two years to complete it. The quartet is dedicated to his more celebrated student, Arnold Schoenberg, who also became Zemlinsky’s brother-in-law in 1901 after marrying Mathilde, Zemlinsky’s younger sister. Schoenberg and Zemlinsky met in 1895 and became close acquaintances very rapidly. Schoenberg received much compositional advice from Zemlinsky and considered the latter his only teacher. In 1899, while madly in love with Mathilde, Schoenberg wrote his famous sextet “Verklärte Nacht.” The piece was inspired by Richard Dehmel’s poem in which, essentially, a betrayed man forgives his future unfaithful wife for bearing the child of another man. However, confronted by a similar situation in 1908, Schoenberg found himself unable to forgive Mathilde after catching her in a compromising situation with painter Richard Gerstl. From that point on, Zemlinsky and Schoenberg started to diverge personally and musically. Schoenberg even began writing atonal music, precisely in the last two movements of his second string quartet, right after that untoward incident. In comparison, Zemlinsky never embraced atonal principles and even attempted to mock that new twelvetone system in his own third string quartet in 1923. However, five years after the Gerstl affair, Zemlinsky was probably missing the good times of his friendship with Schoenberg and decided to propel a reconciliation by announcing to his old friend his desire to write a string quartet in a postcard. “It will have only one movement, i.e. four sections in one movement, and purports to be in F-sharp minor.” The concept of having four movements encapsulated in one stride had been previously employed by Schoenberg in
his first string quartet (Op. 7 in D Minor (1905)) while the key of F-sharp minor had been featured in his second string quartet (Op. 10 in F-sharp Minor (1908)). To some extent, Zemlinsky paid the greatest homage a teacher can give to his student by imitating the through-composed form of Schoenberg’s Op. 7 and by paraphrasing musical material from Schoenberg’s Op. 10 in his own Op. 15. Coincidently, the first performance of Schoenberg’s Op. 10, which happened in Vienna on December 21, 1908 (12/21/1908), and the number of measures in Zemlinsky’s Op. 15, which is 1221, strangely correspond. This occurrence is one of those many subtleties that only Schoenberg and Zemlinsky could truly grasp. Although the second quartet has no known program, the nature of its form suggests programmatic tendencies and it is certainly not unthinkable for someone to conceive of this work as a musical depiction of what happened during the Gerstl affair. With that in mind, the first violin could easily suggest Zemlinsky, the cello Schoenberg and the viola Mathilde. As for the second violin, its role could be from another nature in proposing the idea of a reconciliation between the two men at the very end of the quartet. – Pierre Lapointe
Annual Concert Support
T
he Tuesday Musical Association gratefully acknowledges all donors to its 2015-2016 Annual Concert Support Campaign. Every gift plays a significant role in the ongoing success for Tuesday .Musical’s Concert Series and Education Programs. Revenue generated through ticket sales only covers a small portion of what is needed to sustain the artistic excellence of our programming. This list reflects gifts received through September 15, 2015. $50,000 to 150,000 “Three Graces Piano” - Anonymous Director $5,000 and up Ronald & Ann Allan Tim & Jenny Smucker
Rachel R. Schneider Jean Schooley Drs. Frederick & Elizabeth Specht Donor $200 to $399 Drs. Mark & Sandy Auburn Mr. & Mrs. David Beasley
Benefactor $1,500 to $4,999
Helen A. Elefritz
John & Diana Gayer
Jon A. Fiume
David & Margaret Hunter Cynthia Knight Donald & Corrinne Rohrbacher Lola Rothmann Kenneth Shafer
Michael T. Hayes Mark & Karla Jenkins Dr. Violet E. Leathers The Maynard Family Foundation George Pope
Richard Shirey
Paula Rabinowitz/Greer Kabb-Langkamp
Sustainer $700 to $1,499
Mr. & Mrs. Edward Russell
Ben & Sandy Rexroad
Richard & Eleanor Aron
Charlotte E. Staiger
John & Jeanette Bertsch
Ann Tainer
Frank C. Comunale
Bob & Colleen Tigelman
Robert & Beverley Fischer
Jorene F. Whitney
Laura Lee Garfinkel Howard Greene
Special thanks for the many in-kind services provided by
Bruce & Joy Hagelin
Cogneato
Sue Jeppesen Gillman Peter & Dorothy Lepp Zenon & Natalie Miahky Charles & Elizabeth Nelson Herb & Dianne Newman E.G. Sue Reitz John P. Vander Kooi Patron $400 to $699 Alan & Sara Burky Harloe & Harriet Cutler
Hazel Tree Interiors Hilton Akron/Fairlawn ideastream® Labels and Letters Mustard Seed Market & Café Sheraton Suites Akron/Cuyahoga Falls Steinway Piano Gallery - Cleveland TRIAD Communications, Inc. The University of Akron School of Music WKSU FM
John & Betty Dalton
Tuesday Musical Endowment
William & Barbara Eaton
DuWayne & Dorothy Hansen
Denis & Barbara Feld Harvey & Lois Flanders (Scholarship Endowment) Jarrod Hartzler Lawrence B. Levey Tom & Cheryl Lyon Earla J. Patterson
2015-2016 Foundation, Corporation & Government Support Tuesday Musical wants to thank the following foundations, corporations and government agencies for their support during the past season. $25,000+
$1,000 to $4,999
GAR Foundation
Arts Midwest Touring Fund
The John S. and James L. Knight Foundation
Betty V. and John M. Jacobson Foundation
Ohio Arts Council
Lehner Family Foundation Nelson Development
$10,000 to $24,999 Mary S. and David C. Corbin Foundation
The R. C. Musson and Katharine M. Musson Charitable Foundation
The Margaret Clark Morgan Foundation
OMNOVA Solutions Foundation
Gertrude F. Orr Trust Advised Fund of the Akron Community Foundation
The Richard and Alita Rogers Family Foundation
C. Colmery Gibson Polsky Fund of the Akron Community Foundation
The Sisler McFawn Foundation
$5,000 to $9,999
$250 to $999
Mary and Dr. George L. Demetros Charitable Trust FirstMerit Bank Services
The Roberta and Stan Marks Charitable Foundation
John A. McAlonan Fund of the Akron Community Foundation
W. Paul Mills and Thora J. Mills Memorial Foundation
The Charles E. & Mabel M. Ritchie Memorial Foundation
The Laura R. and Lucian Q. Moffitt Foundation
Target Foundation
The Lloyd L. & Louise K. Smith Foundation The Welty Family Foundation WKSU FM
WOOSTER
Chamber Music SERIES 2015-2016
October 4, 2015 November 8, 2015 February 7, 2016 March 20, 2016 April 24, 2016
Emerson String Quartet Michael Strauss and Friends Wu Han and David Finckel Harlem String Quartet Gryphon Trio
All concerts are Sundays, at Gault Recital Hall, The College of Wooster, unless noted. n - ava Tickets: $25.00 general admission available at the Wilson Bookstore on The College of Wooster Campus, The Wooster Book Company, or at the door. For formation, phone 330-263-2115 3 additional information, www.woosterchambermusic.com woosterchamberm
tuesday musical
2015-2016 Executive Board of Directors
Executive Committee President Charles Nelson
Vice President/President Elect Laurie Gilles
Treasurer Cheryl Lyon
Recording Secretary Magdalena McClure
Corresponding Secretary Linda Liesem
Immediate Past President Patricia Sargent
Committee Chairs
Brahms Allegro Chair Cheryl Boigegrain
Development Chair Frank Comunale
Code of Regulations/Standing Rules Paul Filon Education/Student Voucher Chair Natalie Miahky Finance Chair Cheryl Lyon Hospitality Co-Chairs Barbara Eaton & Joy Hagelin
Membership Chair Anita Meeker
Newsletter Editor Bob Fischer
Member Program Chair Mary Ann Griebling
Scholarship Co-Chairs George Pope & Guy Bordo
Staff
Executive Director Jarrod Hartzler
Programs Director Cyndee Snider
Artistic Administrator Karla Jenkins
Business Manager Theresa Clere
Program art direction by Live Publishing Co. Cover design by TRIAD Communications, Inc.
Starring Lon C haney
with
Live AccompAniment * by organist
Todd WiLson
OCT 30 FRI | 8:00 p.m. at Severance Hall
Just in time for Halloween — see this vintage 1923 silent film with the score improvised live on Severance Hall’s mighty Norton Memorial Organ. *Please note that The Cleveland Orchestra does not appear on this program.
TI C K E T S
| 216-231-1111
clevelandorchestra.com
Starring Lon C haney
with
Live AccompAniment * by organist
Todd WiLson
OCT 30
WELSER-MÖST HAS MANAGED FRI | SOMETHING 8:00 p.m. RADICAL WITH THE CLEVELAND ORCHESTRA — MAKING THEM at Severance PLAY AS ONE SEAMLESS UNIT .Hall . . A VERY DELICATE BEAUTY MAKES THE Just in timeTHAT for Halloween — see this CLEVELANDERS vintage 1923 silent filmSOUND with the
LIKE NO OTHER ORCHESTRA.
score improvised live on Severance Hall’s mighty Norton Memorial Organ. *Please note that The Cleveland Orchestra does not appear on this program. —The Times (London)
TI TICCKKEETTSS
| | 216-231-1111 216-231-1111
clevelandorchestra.com clevelandorchestra.com
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House Notes Parking Beginning at 5 p.m. for evening concerts and 12:30 p.m. for Sunday concerts, special event parking is available at $5 per vehicle in the EJ Thomas Hall parking deck or in surrounding campus lots. Late Seating Out of consideration for other audience members and the performers, latecomers will be seated at a suitable pause in the program. Emergency Numbers Physicians and others expecting calls are requested to leave their name and seating location with the Head Usher upon arrival. Please leave your seat location with the person(s) who may need to reach you in case of an emergency and ask them to call EJ Thomas Hall at 330.972.6828. Pre-concert Lectures Free Pre-concert Lectures, designed to enrich the concert-going experience, are presented one hour before most Tuesday Musical concerts and last 30 minutes. Intermission Intermissions are 20 minutes in length. The flashing of the lobby lights is your signal to return to your seat for the start of the performance. Special Accommodations If you have special seating requirements, please inform the Ticket Office when you place your ticket order. EJ Thomas Hall has wheelchair accommodations and other seating services for the physically challenged in both the Orchestra and Grand Tier sections. Handicapped parking is available in the EJ Thomas Hall deck and the North parking deck accessed from both Forge St. and Buchtel Ave.; a valid parking permit must be displayed. A special sound system for the hearing impaired and
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large print program notes are available, free of charge, with advance notice. Please see the Head Usher for the sound system device and call the TMA office to request the program notes. Restrooms Public restrooms are located in the Robertson Lobby of EJ Thomas Hall. The ladies’ room can be accessed from the odd-numbered entry doors and the men’s room access is from the even-numbered entry doors. The center stairs in the Robertson Lobby lead to both restrooms. Accessible restrooms are located at the bottom of each ramp. Cameras, Audio Recorders & Video Equipment Cameras, video and audio recording devices of any kind are prohibited at all performances. Our ushers are instructed to retrieve these prohibited items from patrons in the auditorium. Paging Devices, Phones & Hearing Aids All electronic and mechanical devices – including pagers, cellular telephones, and wrist-watch alarms – must be turned off while in the concert hall. Patrons with hearing aids are asked to be attentive to the sound level of their hearing device and adjust it accordingly. Refreshments Bar service is offered in the center lobby before concerts and at intermission. Soda and light snacks are also available in the lobby. The EJ Café, located in the Herberich Lobby, offers appetizers, desserts, gourmet coffees, espresso and cappuccino. Drinking fountains are in the center lobby. Smoke Free Theatre Smoking is not permitted anywhere inside EJ Thomas Hall, but designated smoking areas are located outside the building. Event Cancellation On very rare occasions, severe weather forces EJ Thomas Hall to cancel or postpone an event. Cancellation information is available by calling the Tuesday Musical Association office at 330.761.3460. Security Policy Customer safety and security is of the upmost importance. All patrons entering the facility must have a ticket for that day’s event. There is a police presence both inside and outside of the theatre. Program Information For information about any Tuesday Musical concert, please call the Tuesday Musical Association office at 330.761.3460 or visit the website at www.tuesdaymusical.org. Ticket Information Single Tickets To purchase single tickets to any Tuesday Musical concert, call the Tuesday Musical Association office at 330.761.3460 or visit the website at www.tuesdaymusical.org. Tuesday Musical Association 1041 West Market Street, Suite 200 Akron, OH 44313-7103 Releasing Tickets Tuesday Musical subscribers who are not able to attend a concert are encouraged to release their tickets 24 hours prior to the concert. In exchange for their tickets, subscribers may receive tickets to a different 2015/2016 Tuesday Musical concert (some restrictions may apply) or receive a charitable donation receipt for the value of the tickets. Please remember to call the office 24 hours PRIOR to the concert. Your seats are the best in the house and someone else would love the experience of sitting just where you do.
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