FRIDAY FAVORITES: ALL RACHMANINOFF FRIDAY, DECEMBER 11, 2020 | NOON Filmed and recorded live from Meymandi Concert Hall Woolner Stage Raleigh
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Holiday Pops
Jiñgles the Elf
wit˙
SAT, DEC 19, 2020 | 7PM Jingles the Elf, host Lindsay Kesselman, vocals Christopher James Lees, piano
Jingles the Elf joins the Symphony for a family Christmas concert bringing joy, fun, and holiday spirit to everyone! Sing along with favorite songs, like Rudolph the Red-Nosed Reindeer and Joy to the World—plus, hear a special reading of ‘Twas the Night Before Christmas.
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FRIDAY FAVORITES: ALL RACHMANINOFF Friday, December 11, 2020 | Noon Filmed and recorded live from Meymandi Concert Hall Woolner Stage
Raleigh Joseph Peters, host
Sergei Rachmaninoff Trio élégiaque No. 1 in G Minor (1873-1943) Karen Strittmatter Galvin, violin Zuill Bailey, cello Natasha Paremski, piano Sergei Rachmaninoff Cello Sonata in G Minor, Op. 19 I. Lento – Allegro moderato II. Allegro scherzando III. Andante IV. Allegro mosso Zuill Bailey, cello Natasha Paremski, piano
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ABOUT THE MUSIC
Trio élégiaque No. 1 in G Minor
Cello Sonata in G Minor, Op. 19
SERGEI RACHMANINOFF
SERGEI RACHMANINOFF
THE STORY:
THE STORY:
• Although this trio was composed while Rachmaninoff was still a teenager—and composed in just four days—it is strikingly similar to his masterful later works.
• In 1897, the premiere of Rachmaninoff’s Symphony No. 1 was an epic failure, which sent him into years of depression and hindered his ability to compose; this sonata, completed in 1901, was one of a series of works through which Rachmaninoff was reborn as a composer.
• It is sometimes suggested that this trio was an early elegy to Tchaikovsky—but since Tchaikovsky was alive and well at the time, it is more likely that Rachmaninoff was simply influenced by his work. • Ten years earlier, Tchaikovsky had written his Piano Trio in A Minor to mourn the death of Nikolay Rubinstein; the young Rachmaninoff may have been inspired to try his own hand at the form. (Rachmaninoff’s later Trio élégiaque No. 2 was a true elegy for Tchaikovsky, following his sudden death.) • As Rachmaninoff was a pianist himself, the piano writing in Trio élégiaque No. 1 is especially impressive; Rachmaninoff performed the premiere in 1892. • The trio is in a single movement, but includes 12 distinct sections. LISTEN FOR: • The hushed, frosty figure in the strings that opens the work • The constantly evolving mood of the main four-note theme—presented first by the piano, and later by the cello and violin • Several minutes into the work, a dramatic climax in which the strings play in unison while the piano plays massive flourishes • The ultimate transformation of the main theme into a funeral march at the conclusion
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• The sonata was overshadowed by the success of his Piano Concerto No. 2, which premiered the same year. • Rachmaninoff regarded the piano as equal to the cello in this work—leading some to claim that it is really “a piano sonata with cello accompaniment.” • Most of the themes throughout the work are introduced in the piano, and then embellished and expanded in the cello. • Rachmaninoff was the pianist at the premiere, performing with cellist Anatoliy Brandukov, who had been the best man at his wedding. LISTEN FOR: • The composer’s signature rhythm—RACH-man-in-OFF— declared by the piano at the end of the first movement • In the second movement, restless urgency that soon gives way to a swaying duet • The influence of the Russian Orthodox church in the third movement—with characteristics of Orthodox hymns, close intervals between notes, and bell-like sonorities • Frequent tempo changes, including a militaristic march that periodically interrupts, the slowing down to a crawl toward the end, and a sudden burst of energy to conclude the sonata
ABOUT THE ARTISTS Zuill Bailey, cello Zuill Bailey is a Grammy Award-winning soloist, recitalist, artistic director, and teacher who has appeared at concert halls throughout the United States, Europe, and Asia. He has been a guest artist with the North Carolina Symphony on numerous occasions—most recently in a streaming concert in October, featured along with pianist Natasha Paremski in a performance of Schubert’s “Trout” Quintet. In 2019, he joined the Symphony to perform and record Don Quixote by Richard Strauss as well as the Walton Cello Concerto. Zuill won a Grammy Award in 2017 for his live recording of Tales of Hemingway by Michael Daugherty. His celebrated recording of Britten’s Cello Symphony and Cello Sonata, also featuring performances with pianist Natasha Paremski, was conducted by Grant Llewellyn and recorded live with NCS in Meymandi Concert Hall; the recording immediately soared to the number one spot on the Billboard classical charts. Numerous other releases include his second live recording with NCS and Grant Llewellyn, of Prokofiev’s Sinfonia Concertante; the chart-topping, Quincy Jones-produced Diversity, with pianist/composer Emily Bear; and Zuill Bailey Performance Editions, which encompasses the core cello repertoire. Zuill’s community engagement and education initiatives have included everything from coaching sessions at universities and schools, to performances at hospitals, senior centers, libraries, museums, rehabilitation programs, and prisons. In addition to his extensive touring engagements, he is the Artistic Director of El Paso Pro-Musica (Texas), the Sitka Summer Music Festival/Series and Cello Seminar (Alaska), and the Northwest Bach Festival (Spokane, Washington); and serves as Director of the Center for Arts Entrepreneurship at the University of Texas at El Paso. Zuill performs on the “rosette” 1693 Matteo Gofriller cello, formerly owned by Mischa Schneider of the Budapest String Quartet. Natasha Paremski, piano Pianist Natasha Paremski was featured in the North Carolina Symphony’s October performance of Schubert’s “Trout” Quintet. Her previous appearances with NCS include performing Rachmaninoff’s Piano Concerto No. 3 in February of this year. She is a regular guest of orchestras including the Minnesota Orchestra, San Francisco Symphony, Oregon Symphony, and the symphony orchestras of Dallas, Baltimore, Toronto, San Diego, and Nashville. She has toured widely in Europe and appeared with the National Taiwan Symphony Orchestra in Taipei. Also a passionate chamber musician, she is a regular recital and recording partner of cellist Zuill Bailey. Their Britten album, which also featured Bailey performing Britten’s Cello Concerto with NCS, debuted at No. 1 on the Billboard classical chart.
in 2010. Her 2011 recital album topped the Billboard classical chart. She has recorded with the Royal Philharmonic Orchestra and has been a frequent guest soloist. Born in Moscow, Natasha began her piano studies at the age of four with Nina Malikova at Moscow’s Andreyev School of Music. She moved to the United States at the age of eight, becoming a U.S. citizen shortly thereafter, and made her professional debut at age nine with El Camino Youth Symphony in California. At the age of 15, she debuted with the Los Angeles Philharmonic and recorded two discs with the Moscow Philharmonic Orchestra. She studied at San Francisco Conservatory of Music and at Mannes College of Music. Karen Strittmatter Galvin, violin Before being named Assistant Concertmaster of the North Carolina Symphony, Karen Strittmatter Galvin was a member of the Delaware Symphony Orchestra and had an active freelance career in Washington, D.C. She is a former member and soloist with the National Repertory Orchestra and the Westmoreland Symphony Orchestra. Karen is a founding member of the Inscape Chamber Orchestra of Washington, D.C., and performed with the Laurel String Quartet, which was formed under the guidance of the Guarneri Quartet. Along with two of her sisters, she has been performing as a member of the Strittmatter Trio since 1988. A native of Pittsburgh, Karen began her musical training at the age of five with Debbie Holland, and later Hong-Guang Jia and Huei-Sheng Kao, both assistant concertmasters of the Pittsburgh Symphony Orchestra. She received her bachelor’s degree from Carnegie Mellon University and a master’s degree at the University of Maryland. Karen is curator of New Music Raleigh, a cutting-edge ensemble dedicated to performing the works of living composers, and maintains an active teaching studio. During the summer, she is an artist faculty member of Brevard Music Center in Brevard, North Carolina. Joseph Peters, host Joseph Peters has been NCS Associate Principal Oboe and English Horn since 2018, and previously held Principal Oboe chairs with the Minnesota Orchestra and Buffalo Philharmonic Orchestra. NCS audiences may also know him as a 2019 Holiday Pops conductor! To his role as host, Joseph brings a great love for teaching.
Natasha was named a Gilmore Young Artist in 2006 and a Young Artist of the Year by the Classical Recording Foundation NORTH CAROLINA SYMPHONY • 5
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Want to make music part of your legacy? To learn more about including the Symphony in your estate plans, contact Rebecca Watkins, Director of Major Gifts & Planning Giving, rwatkins@ncsymphony.org or 919.789.5497
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ORCHESTRA PERSONNEL Grant Llewellyn, Music Director Laureate The Maxine and Benjamin Swalin Chair
Janet Gayer Hall
Wesley Schulz, Associate Conductor The Lucy Moore Ruffin Chair
Anton Shelepov
VIOLIN I Brian Reagin, Concertmaster The Annabelle Lundy Fetterman Chair Dovid Friedlander, Associate Concertmaster** The Assad Meymandi and Family Chair To Be Filled, Assistant Concertmaster The Anne Heartt Gregory Chair Karen Strittmatter Galvin, Assistant Concertmaster
Oskar Ozolinch
Jeanine Wynton VIOLA Samuel Gold, Principal The Florence Spinks and Charles Jacob Cate and Alma Yondorf and Sylvan Hirschberg Chair Kurt Tseng, Associate Principal The Betty Ellen Madry Chair To Be Filled, Assistant Principal Petra Berényi
DOUBLE BASS Leonid Finkelshteyn, Principal The Martha and Peyton Woodson Chair Robert K. Anderson, Associate Principal The Dr. and Mrs. Preston H. Gada Chair Craig Brown The Mark W. McClure Foundation Chair Erik Dyke The Harllee H. and Pauline G. Jobe Chair Bruce Ridge The John C. and Margaret P. Parker Chair FLUTE Anne Whaley Laney, Principal The Mr. and Mrs. George M. Stephens Chair
Robert Anemone**
Paul Malcolm
Emily Rist Glover The Jessie Wyatt Ethridge Chair
Christine Martin
Mary E. Boone, Assistant Principal The Dr. and Mrs. Shaler Stidham, Jr. Chair
Amy Mason The J. Sidney Kirk Chair
Elizabeth Anderton Lunsford The Jack and Sing Boddie Chair
Paul Goldsberry The Richard and Joy Cook Chair So Yun Kim The Governor James B. Hunt, Jr. Chair Marilyn Kouba The Phyllis (“Pat”) Conrad Wells Chair Eric McCracken The James C. Byrd and Family Chair Maria Meyer The Tom and Mary Mac Bradshaw Chair Eileen Wynne The Harvey At-Large Chair Erin Zehngut The J. Felix Arnold Chair VIOLIN II Jacqueline Saed Wolborsky, Principal The Nancy Finch Wallace Chair
Sandra Schwarcz The Samuel H. and Anne Latham Johnson Viola Chair CELLO Bonnie Thron, Principal The Herman and Marga Roberg Chair Elizabeth Beilman, Associate Principal The Sarah Carlyle Herbert Dorroh Chair Peng Li, Assistant Principal Anonymously Endowed Yewon Ahn Anonymously Endowed Sunrise Kim The William Charles Rankin Chair David Meyer The Nell Hirschberg Chair
PICCOLO Elizabeth Anderton Lunsford The Jean Dunn Williams Chair OBOE Melanie Wilsden, Principal The Hardison and Stoltze Chair Joseph Peters, Associate Principal The Lizette T. Dunham Chair Sandra Posch The Clarence and Alice Aycock Poe Chair ENGLISH HORN Joseph Peters The Bruce and Margaret King Chair
To Be Filled, Associate Principal The Blanche Martin Shaw Chair
Lisa Howard Shaughnessy The Sara Wilson Hodgkins Chair
CLARINET Samuel Almaguer, Principal The Mr. and Mrs. J. Christopher Walker, II Chair
David Kilbride, Assistant Principal
Nathaniel Yaffe The Secretary of Cultural Resources Betty Ray McCain Chair
To Be Filled, Assistant Principal The Kathryn Powell and Green Flavie Cooper Chair
Qi Cao
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ORCHESTRA PERSONNEL BASSOON Aaron Apaza, Principal The Mr. and Mrs. Fitzgerald S. Hudson Chair Wenmin Zhang, Assistant Principal The Beethoven Chair FRENCH HORN Rebekah Daley, Principal The Mary T. McCurdy Chair Kimberly Van Pelt, Associate Principal The James Marion Poyner Chair Christopher Caudill The Roger Colson and Bobbi Lyon Hackett Chair Rachel Niketopoulos The Paul R. Villard and Gabriel Wolf Chair To Be Filled The Mary Susan Kirk Fulghum Chair TRUMPET Paul Randall, Principal The George Smedes Poyner Chair To Be Filled, Associate Principal The Henry and Martha Zaytoun and Family Chair Don Eagle Anonymously Endowed
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TROMBONE John Ilika, Principal The Thomas Warwick Steed, Jr. Family Chair Jonathan Randazzo, Assistant Principal The Frances Armour Bryant Chair BASS TROMBONE Matthew Neff Anonymously Endowed TUBA Seth Horner, Principal The Governor and Mrs. James G. Martin, Jr. Chair HARP Anita Burroughs-Price Vonda Darr TIMPANI Colin Hartnett, Principal The Patricia R., Steven T. and George F. Hackney III Chair PERCUSSION Richard Motylinski, Principal The Margery and Earl Johnson, Jr. Chair Rajesh Prasad, Assistant Principal The Abram and Frances Pascher Kanof Chair
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ORGAN To Be Filled The Albert and Susan Jenkins and Family Organ Chair LIBRARY Stephanie Wilson, Principal The Mary Colvert and Banks C. Talley Chair *Acting position **Leave of absence Named musician chairs are made possible through very meaningful gifts to the Symphony’s endowment. As such, these donor families are also members of the Lamar Stringfield Society. Learn more. All string players rotate stands on a periodic basis in each section with the exception of titled players: Principals, Associate Principals, and Assistant Principals. The North Carolina Symphony is a member of the League of American Orchestras and the International Conference of Symphony and Opera Musicians. The North Carolina Master Chorale is the Resident Chorus of the North Carolina Symphony. The North Carolina Symphony Foundation gratefully acknowledges the generous gift of the Lupot violin from Arnold and Zena Lerman.
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CORPORATE SUPPORT 2020/21 SEASON The North Carolina Symphony is grateful for the generous support of the many corporations across the state that have partnered with us to sustain and advance the mission of the orchestra. With their help, the music WILL play on.
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