SUNDAY, JULY 18

FESTIVAL LIVE! chamber series

Margaret Donaghue, Clarinet Craig Morris, Trumpet Svet Stoyanov, Percussion Michael Sheppard, Piano Bettina Mussumeli, Violin

Geoff Nutall, Violin Laura Hamilton, Violin Jodi Levitz, Viola Christopher Costanza, Cello

ROBERT SCHUMANN (1810-1856)

Märchenerzählungen, Op. 132 (1853) OSVALDO GOLIJOV (B. 1960)

Mariel for Cello and Marimba (1999) ERIC EWAZEN (B. 1954)

Quintet for Trumpet and Strings (1998) I. Allegro moderato

IV. Allegro agitato GABRIEL FAURÉ (1845-1924)

Piano Quintet No. 2, Op. 115 (1919-1921) I. Allegro moderato

II. Allegro vivo

MÄRCHENERZÄHLUNGEN (FAIRY TALES) FOR CLARINET, VIOLA, AND PIANO, OP. 132

Robert Schumann (1810-1856)

Märchenerzählungen (Fairy Tales) was composed in October of 1853, dangerously close to Schumann’s suicide attempt in 1854 although that does not show in the warm spirit of the work. The first movement Lebhaft, nicht zu schnell (Lively, not too fast), for example, with its light-hearted arpeggios from the piano and its general graciousness suggests an untroubled soul. Here we also have the statement of a “kernel” theme which works its way through the entire piece, a technique that Brahms would develop to its fullest.

So, too, does the decisive and spirited second movement Lebhaft und sehr markiert (Lively with much accent), with its octave leaps for all three instruments and the march-like statements of the piano, reflect a happiness of spirit. A lyrical turn and dotted rhythms suggest something more but hardly the heart of darkness.

The third movement Ruhiges Tempo, mit zarten Ausdruck (Calm tempo, with delicate expression), much in contrast to the second, offers us a lyrical singing style we associate with Schumann. Both viola and clarinet have lovely solo moments while the piano remains steady with a rocking motion.

The final movement Lebhaft, sehr markiert; Etwas ruhigeres Tempo; Erstes tempo (lively with much accent; rather delicately) returns us to the spirit of the second movement but with a different approach. The energetic and definitive opening statement changes to a lighter spirit in the development but returns to its original strength for the conclusion.

MARIEL FOR CELLO AND MARIMBA

Osvaldo Golijov (b. 1960)

Osvaldo Golijov grew up in an Eastern European Jewish household in La Plata, Argentina. Born to a piano teacher mother and physician father, Golijov was surrounded by classical chamber music, Jewish liturgical and klezmer music, and the new tango of Astor Piazzolla. After studying piano at the local conservatory and composition with Gerardo Gandini, he moved to Israel in 1983, where he studied at the Jerusalem Rubin Academy and immersed himself in the colliding musical traditions of that city. After moving to the United States in 1986, Golijov earned his Ph.D. at the University of Pennsylvania, where he studied with George Crumb and was a fellow at Tanglewood. In January and February 2006, Lincoln Center presented a sold-out festival called The Passion of Osvaldo Golijov, featuring multiple performances of his major works.

Mariel for Cello and Marimba was composed in 1999 with an orchestral version shortly following. Golijov offers these comments on the work: “I wrote the original version of Mariel, for cello and marimba, when I learned of

the death in an accident of my friend Mariel Stubrin. I attempted to capture that short instant before grief, in which one learns of the sudden death of a friend who was full of life: a single moment frozen forever in one’s memory, and which reverberates through the piece, in the waves and echoes of the Brazilian music that Mariel loved.”

QUINTET FOR TRUMPET AND STRINGS

Eric Ewazen (b.1954)

Ewazen studied composition under at the Eastman School of Music and The Juilliard School where he has been on the faculty since 1980. He has also been a lecturer for the New York Philharmonic’s Musical Encounters Series and has also served on the faculties of the Hebrew Arts School and the Lincoln Center Institute. His compositions have been performed by the Cleveland Orchestra and at such festivals as Woodstock, Tanglewood, and Aspen.

The Quintet for Trumpet and Strings, composed in 1999, was commissioned by the St. Luke’s Chamber Ensemble and Chris Gekker and recorded by them on Well-Tempered Productions. The work fully explores the virtuosity the trumpet can offer with riveting melodies and deep-felt moments.

PIANO QUINTET NO. 2, OP. 115

Gabriel Fauré (1845-1924)

The second of his two piano quintets, dedicated to Paul Dukas, was completed in March of 1921 well after Fauré had suffered severe hearing loss. It was performed for the first time on May 2, 1921 at the Société nationale de musique in Paris in honor of the 76-year old Fauré. For this program, we hear the first two movements of the work.

While the C Minor Quintet has all of Fauré’s classic imprints, its canvas is larger. The strong opening brings a rippling piano and singing strings, but they are punctuated with dramatic descending slurs and octave leaps. An elusive passion pervades the movement but with a declarative nature. There is little holding back in the second movement Allegro vivo. Here we have a full-blown scherzo except for a certain expansiveness we do not usually associate with the form. It is fast, light, and full of joy but never idle merriment.

arts for all gala

featuring jennifer hudson

Selections to be announced from the stage

Jennifer Hudson appears as part of the Jan Shrem and Maria Manetti Shrem Vocal Arts Series.