2020/21 North Carolina Symphony Concert Program for Schubert's "Trout" Quintet

SCHUBERT’S “TROUT” QUINTET SATURDAY, OCTOBER 10, 2020 | 8PM Recorded Live from Meymandi Concert Hall Woolner Stage Duke Energy Center for the Performing Arts, Raleigh FILMED AT

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Schubert: “Trout” Quintet Filmed at

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SCHUBERT’S “TROUT” QUINTET Saturday, October 10, 2020 | 8pm Recorded Live from Meymandi Concert Hall Woolner Stage Duke Energy Center for the Performing Arts, Raleigh Joseph Peters, host

Franz Schubert Piano Quintet in A Major, D. 667, “Trout” (1797-1828) I. Allegro vivace II. Andante III. Scherzo: Presto IV. Tema con variazione: Andantino V. Finale: Allegro giusto

Jacqueline Saed Wolborsky, violin Samuel Gold, viola Zuill Bailey, cello Leonid Finkelshteyn, double bass Natasha Paremski, piano

This concert is made possible in part by The Charles E. Potts/Fanny R. Potts Guest Pianist Fund.

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ABOUT THE MUSIC

Piano Quintet in A Major, D. 667, “Trout” FRANZ SCHUBERT (1797-1828) • Sylvester Paumgartner, an enthusiastic supporter of music, commissioned Schubert to write a companion piece to composer Johann Hummel’s quintet, with the unusual instrumentation of piano, violin, viola, cello, and double bass.

• Recent models of clothes dryers made by Samsung use the melody of Die Forelle to signal the end of the drying cycle!

LISTEN FOR: • The opening gesture in the piano, an ascending arpeggio of triplets, which derives from the original song— a gesture that possibly depicts the trout trying to escape the fisherman, or perhaps the babbling brook

• The title of the quintet comes from a Lied, or song, Schubert had previously composed for solo voice and piano called Die Forelle, or “The Trout.”

• Three songful melodies in the melancholy second movement

• Schubert frequently gathered with friends in Vienna for what came to be known as Schubertiads. These were evenings of food, drink, and music-making with Schubert at the piano. The manuscript of the song Die Forelle contains an inscription by Schubert: “composed at 12 o’clock at night,” after the drinking of much red wine with his friend Anselm Hüttenbrenner.

• The melody from the song Die Forelle, transformed into a theme and variation in the fourth movement.

• Accented third beats in the Scherzo, giving the music a delightful “hiccup” feeling

• In the finale, a reappearance of the rippling triplets from the opening

• Music throughout the quintet is explicitly joyful, bubbly, and optimistic. Schubert was a master at melody and his skill is on full display here.

ABOUT THE ARTISTS Jacqueline Saed Wolborsky, violin The Nancy Finch Wallace Chair Jacqueline Saed Wolborsky is Principal Second Violin of the North Carolina Symphony and teaches violin at the University of North Carolina at Chapel Hill. She was previously a member of the Charleston Symphony and taught violin at the College of Charleston. She has been a featured soloist with NCS, Brussels Chamber Orchestra, and South Carolina Philharmonic, and was honored with the Russell Award at the Coleman International Chamber Music Competition.

Jacqueline holds degrees from the Oberlin Conservatory and Cleveland Institute of Music. She has performed at the National Gallery in Washington, D.C., as a co-founder of LACE (Living Arts Collective Ensemble) and with fellow NCS musicians in a trio setting. She has worked with members of the Tokyo, Cleveland, and Vermeer Quartets, and has toured with Joshua Bell, James Levine, and Mstislav Rostropovich.

Samuel Gold, viola The Florence Spinks and Charles Jacob Cate and Alma Yondorf and Sylvan Hirschberg Chair North Carolina Symphony Principal Viola Samuel Gold began studying the viola at the age of four with Sherida Josephson of the Des Moines Symphony. He graduated from the New

England Conservatory as a student of Roger Tapping and Martha Strongin Katz, and from the University of Iowa as a student of Elizabeth Oakes and Christine Rutledge.

Samuel has performed at the Aspen Music Festival and School, the Taos School of Music, and the Montreal International String Quartet Academy. In May of 2008, he performed as soloist with the University of Iowa Chamber Orchestra after winning the school’s concerto/aria competition, and he participated in a 2016 performance of the complete Beethoven string trios at the National Gallery of Art in Washington, D.C. He has been featured as a soloist in NCS concerts and often performs in NCS chamber ensembles.

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. His most recent performances with NCS, in 2019, featured Don Quixote by Richard Strauss. His musical outreach has included music education presentations from university master classes to schools, hospitals, senior centers, libraries, museums, rehabilitation programs, and prisons.

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 Sonata, also NORTH CAROLINA SYMPHONY • 4

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 a 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 repertoire of cello literature.

Zuill performs on the “rosette” 1693 Matteo Gofriller Cello, formerly owned by Mischa Schneider of the Budapest String Quartet. 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.

Leonid Finkelshteyn, double bass The Martha and Peyton Woodson Chair Principal Bass of the North Carolina Symphony since 1996, and the Eastern Music Festival Orchestra since 1999, Leonid Finkelshteyn also serves on the faculty of North Carolina State University and the Eastern Music Festival and has a private studio. Among numerous concerto appearances, his premieres include the Double Bass Concerto by Terry Mizesko, dedicated for him and premiered with NCS in 2018.

A native of Leningrad in the former Soviet Union, Leonid joined the Symphony Orchestra of the Leningrad Philharmonic at 19 years of age—while still a student at the Leningrad Conservatory, where he earned a master’s degree.

Since emigrating to the U.S. in 1990, his artistic pursuits have also included many chamber music performances, leading sectionals for local youth philharmonic orchestras and the North Carolina All-State Orchestra, and tours with the Chicago Symphony Orchestra and New York Philharmonic.

Natasha Paremski, piano Pianist Natasha Paremski most recently joined NCS in February 2020 performing Rachmaninoff’s Piano Concerto No. 3. 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.

Natasha was named a Gilmore Young Artist in 2006 and a Young Artist of the Year by the Classical Recording Foundation in 2010. Her 2011 recital album topped the Billboard classical chart. She has recorded with the Royal Philharmonic Orchestra and 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.

Joseph Peters, host The Lizette T. Dunham Chair The Bruce and Margaret King Chair 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.

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With creativity and innovation, your North Carolina Symphony remains committed to serving our state with inspiring music and meaningful music education programs.

Thank you to the members of the Lamar Stringfield Society who support the future of your North Carolina Symphony with estate gifts and endowed funds. Their generosity will help the orchestra share the power of music for generations to come.

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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

Suzanne Kelly

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 Janet Gayer Hall

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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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