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presents
BLAKE POULIOT Violin
HSIN-I HUANG Piano
TUESDAY, JANUARY 7, 2020 | 7:30 P.M. Squitieri Studio Theatre
OPUS 3 ARTISTS presents
Blake Pouliot
Hsin-i Huang
Violin
Piano
———————— Program Violin Sonata in F major, K. 376
Wolfgang Amadeus Mozart
Allegro Andante Rondo: Allegretto grazioso
Romances, Nos. 1 & 2
Ludwig van Beethoven
Recitative and Scherzo
Fritz Kreisler
———————— INTERMISSION Violin Sonata No. 1 in F minor
Serge Prokofiev
Andante assai Allegro brusco Andante Allegrissimo – Andante assai, come prima
Tzigane
Maurice Ravel
———————— Exclusive Management: Opus 3 Artists 470 Park Avenue South, Ninth Floor North New York, NY 10016 www.opus3artists.com
Program Notes Sonata for Violin and Piano, in F Major, K.376 Wolfgang Amadeus Mozart Born January 27, 1756, in Salzburg; died December 5, 1791, in Vienna At the height of his career, during his mature years in Vienna, Mozart was admired at least as much for his brilliant pianoplaying as for his compositions, which were then thought to be only incidental to a virtuoso’s work as a performer. In his youth he had played the violin too, in the Archbishop’s court orchestra in Salzburg, but he always preferred the piano. His father, Leopold Mozart, was a distinguished violinist and teacher whose important instruction book was first published in 1746 and was still widely studied in the 19th century. Leopold always regretted Wolfgang’s gradual abandonment of his instrument and once wrote in a letter to him that if he would apply himself and stay with it, he would be “the first violinist in Europe.” His intimate acquaintance with the instrument is quite clearly manifest in the five concertos he wrote for it in 1775 and in his sonatas with violin. Mozart wrote four of his fortyfour sonatas for violin and piano in 1781. In that November, he published a set of six with a dedication to his pupil Josefa Auernhammer, a composer and pianist whose musicianship and artistry Mozart respected and admired. Josefa’s romantic attractions for him were not, however, as admirable in Mozart’s eyes. He said, “The young lady is a fright, but plays enchantingly,” yet he did confess that his student was in love with him and had circulated a rumor that they were to marry. His comment was that she is “nothing but an amorous fool.” His reaction to her presumably drove him into the arms of Constanze, the young woman who became his wife in 1781. Mozart composed this brilliant sonata after Archbishop Hieronymus von Colloredo, his nemesis, ignobly dismissed him from the Salzburg court; Mozart went to settle in Vienna where he would have to rely on the taste of the public to commission his music. This sonata, one of the first works of his independence, is made up of three movements rich in new ideas. Mozart gives the violin part and the piano part equal prominence in the music, integrating the thematic material between them, allowing them to have a true musical dialogue, something that had not been done before. The dynamic yet lyrical Allegro first movement begins with a call to the audience’s attention with three chords. The movement has a brief development before the recapitulation. A delicate but nevertheless bright and sunny Andante central movement follows with the keyboard again announcing the main themes. The final movement is a boisterous, high-spirited and graceful final Rondo, Allegro grazioso.
Romance for Violin and Orchestra, in F Major, Op. 50 Ludwig van Beethoven Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna Eighteenth century German composers borrowed the term Romance, or Romanze, from their French contemporaries to denote a kind of simple but affecting song, and eventually Haydn and Mozart used the label not only for vocal works but also for some lyrical slow movements in their larger works. In each of the movements that they labeled thus, melodic invention and lyrical feeling dominate. Romance, however, was not a name used for individual character pieces until the 19th century. Beethoven studied the violin when he lived in Bonn. He had even played viola in an orchestra there before he moved to Vienna in 1792, and thus it is not surprising that he displayed his interest in writing for the violin early on in his career, and that he wrote two Romances, one Op. 40 and this work, Op. 50. The Romances, composed in sectional form, require both technical fluency and elegant musicianship from the violin soloist. Music historians know that they had both certainly been completed by 1802, when the composer’s brother negotiated their publication, but it is most likely that they were composed as early as 1798 or 1799. The Romance in F, a work of calm dignity, was presumably the first of the two to have been composed, although it is called No. 2 and has a later opus number than the other Romance. It was probably premiered shortly after it was completed, although facts about its early performance history are not available. The year of its publication was the same year that Beethoven completed Symphony No. 2 and his Heiligenstadt Testament, in which he revealed his despair about his increasing deafness. Beethoven Romances for violin and orchestra, are short, charming onemovement works in a relatively slow tempo that require the soloist’s technical fluency and elegant musicianship. These two charming one-movement Romances may be perceived as way stations on Beethoven’s journey to the composition of his famous Violin Concerto, which he completed in 1806. Beethoven’s original manuscript of the Romance for Violin and Orchestra, Op. 40, was a treasured possession of the great nineteenthcentury violinist Joseph Joachim, who received it as a gift from an admirer. Now the manuscript is in the Library of Congress in Washington. Marion M. Scott, an English biographer of Beethoven, speaks of being puzzled by both Romances. He says, “They are beautiful in their way, not easy as to technique, and very difficult to interpret satisfactorily.” No one knows just why Beethoven composed the Romances. Some historians speculate that one or the other may have been originally intended as the slow central movement for the fragmentary C major Violin Concerto that he had begun earlier, but some ponder that if that were true, why would he have created
two romances in different keys? Regardless, they both have been accepted as stand-alone pieces now. The Romances share a similarity in form as well as in mood, both being completely lyrical in spirit. Beethoven headed the score to the Romance in F Adagio cantabile, “slow and singing.” Its very beautiful, gentle, and shapely melody begins at the beginning of the piece: song-like yet ornate, it is accompanied lightly by the strings, and joined by the flutes when the theme is repeated. After a brief cadence and a pause, the solo returns with another melody with more agitation and virtuosity. A minor mode excursion ventures through different keys in an episode beginning with a kind of fanfare that the orchestra, somewhat nervously, supports. The soloist plays a cadenza-like passage that the orchestra punctuates with a single chord rather than with silence. Soon the opening theme returns, and after a short period of scalar activity from the violin, the charming piece concludes quietly.
Romance in F is scored lightly for an accompanying orchestra made up of flute, two oboes, two bassoons, two horns, and strings.
Recitativo and Scherzo-Caprice, Op. 6, for Violin Fritz Kreisler Born February 2, 1875, in Vienna; died January 29, 1962, in New York Fritz Kreisler was an eminent musician, a violin virtuoso who had also studied medicine and art, and was a world-traveler. When he was 7 years old, he became the youngest student ever admitted to the Vienna Conservatory, where the composer, Anton Bruckner, taught him music theory. He went to Paris for advanced study at the Conservatory, where the composer, Léo Delibes, taught him composition. Kreisler completed his education in 1887 at the age of 12, and in 1888, he made the first of his many American tours. When Austria was annexed by the German Nazis in 1938, he left to become a French citizen; later, he became an American. Two popular operettas and a fine String Quartet are Kreisler’s principal large works. This unaccompanied Recitativo and Scherzo-Caprice, composed in 1911, is also a serious concert work. In addition to these, Kreisler wrote dozens of short pieces for violin that he programmed and published with attributions to little known composers of earlier times; when he revealed his hoaxes, some critics were outraged, but most were amused. This Recitativo and Scherzo-Caprice for unaccompanied violin echoes older musical forms, but Kreisler never claimed it to be anything but his own. It does not contain the Viennese sentiments of some of his little pieces, yet this display piece also delights with its virtuosity.
Sonata for Violin and Piano No. 1, in F minor, Op. 80 Serge Prokofiev Born April 23, 1891 in Sontzovka; died March 5, 1953, in Moscow Prokofiev was born in a remote Ukrainian village where his agronomist father worked as manager of a large estate and his mother gave him his first music lessons. He then studied at the St. Petersburg Conservatory where he became a brilliant pianist. After the Russian Revolution, he came to America then subsequently settled in Paris, where he was an influential figure until he returned to Russia in 1933. Late in 1938, Prokofiev began to sketch a violin sonata, but before long, larger projects demanded his immediate attention, and he temporarily abandoned it. Wherever he went, though, he carried the sketches for this unfinished sonata with him. In 1946, he finally completed it, and on October 23, the renowned violinist, David Oistrakh, gave it its premiere. Prokofiev had, in the meantime, written another violin sonata (which is an alternate version of his Flute Sonata), but he called this one No. 1 because he had begun it earlier. The sonata, an original, powerful, dramatic composition, has rich thematic material, strongly Russian in character. Imaginative Soviet critics thought Russian epic-narrative poetry inspired it; they presumably heard in it such programmatic subjects as sad ancient bards, a young girl’s lament and even the sounds of war. Prokofiev himself said only, “The first movement, Andante assai, is severe in character and is a kind of extended introduction to the second movement, Allegro brusco. A sonata-allegro third movement, Andante, is slow, gentle, and tender. The finale, Allegrissimo, is fast and written in complicated rhythms.” The first rather short movement begins darkly but calmly; it is organized rhythmically with a pitting of three against four, but without regular alternation between them. The contrasting second movement sounds brusque because of its quick tempo. The critic Arthur Cohn has said of the play between instruments and textures in this movement: “The hard-soft effect shows Prokofiev’s wonderful command of musical architecture, with the 20th century manner displayed by the tight, thin, and steely quality of the whole.” The third movement contrasts sharply with what has gone before: the violin is muted, matching the quiet character of the themes. The Finale produces a contrast to the preceding movement yet complements and rounds out the mood and tonality of the initial movement. It again relies on complicated rhythmic shifts for important effects, and Prokofiev gives the music a snarling and sputtering character.
Tzigane, Concert Rhapsody Maurice Ravel Born March 7, 1875, in Ciboure; died December 28, 1937, in Paris Ravel was the son of a distinguished engineer and inventor who in 1868 patented a self-propelled, steam-powered vehicle that ran for two hours in the streets of Paris. In the 1870s, when the composer’s father was working on railroad
construction projects in Spain, Maurice Ravel was born on the French side of the frontier nearby, before the family returned to Paris a few months later. At the age of 7, Ravel began his musical studies; at 18, he began to write music, at 20, he was a published composer. On a visit to London in 1922, Ravel became acquainted with the young Hungarian violinist, Yelli d’Arányi, who was Jenö Hubay’s student and a grandniece of Brahms’s violinist-friend, Joseph Joachim. After a concert one night, Ravel asked d’Arányi to play him a few Hungarian Gypsy tunes. He found them so fascinating that the two of them stayed up, playing and talking, until five o’clock in the morning. During the next two years while he worked on other things, Ravel gave a great deal of thought to composing a piece for d’Arányi. On March 13, 1924, he wrote her a letter in which he asked, “Would you have time to come to Paris in two or three weeks? I would like to speak to you about Tzigane, which I am writing especially for you, which will be dedicated to you . . .. This Tzigane must be a piece of great virtuosity. Certain passages can produce brilliant effects, provided that it is possible to perform them, which I am not always sure of.” Ravel wrote Tzigane during a period of great activity. At the same time, he was working on his Violin Sonata and a sonata for violin and cello. He was also finishing the orchestration for Mussorgsky’s Pictures at an Exhibition, as well as completing his opera, L’enfant et les sortileges, with a libretto by Colette, which he had been working on for years.
Tzigane first appeared as a brilliant violin showpiece with piano accompaniment. Yelli d’Aranyi premiered it at a concert in London on April 26, 1924 with Ravel playing the accompaniment on a piano with a luthéal attachment, which simulated the sound of the Hungarian cimbalom, an instrument resembling the old dulcimer. The results were not altogether satisfactory; he later adapted the music for conventional piano. Tzigane is modeled not on the restrained formality of the Gypsy finale in the Violin Concerto that Brahms wrote for Joachim, but rather on Liszt’s free-form Hungarian Rhapsodies for piano. It begins as a long solo in improvisatory style, with glittering cascades of melody and fiery passages that conjure up the spirit of gypsy bands. Even though performers always find this virtuoso piece fiercely difficult to play, Ravel told d’Arányi after her successful first performance that if he had known how easily she would solve all the problems he set for her in this work, he would have made it more difficult. — Program notes are copyright © Susan Halpern, 2019
Blake Pouliot Violin Violinist Blake Pouliot has joined the upper echelons of brilliant soloists, establishing himself as a consummate 21st century artist with the rigor and passion to shine for a lifetime. At only 25 years old, the tenacious violinist has been praised by the Toronto Star as, “one of those special talents that comes along once in a lifetime.” Highlights of the 2019-20 season include Pouliot’s debuts with the Atlanta, Asheville, Sarasota, and Madison symphonies, and a collaborative experience as the featured soloist for the first ever tour of the European Union Youth Orchestra and National Youth Orchestra of Canada.
Photo by Jeff Fasano Photography
The tremendously successful 2018-19 season included his debuts with the Detroit, Dallas, Milwaukee, San Francisco, and Seattle symphonies, dazzling audiences by “[surging] onstage in rock star pants…[presenting] Brahms as a composer of great passion. It was compellingly—indeed, irresistibly—done” (The Dallas Morning News). In September, Pouliot’s debut album featuring the works of Ravel and Debussy was released (Analekta Records), earning a five-star rating from BBC Music Magazine and a 2019 Juno Award nomination for Best Classical Album. Adding to his accolades, Pouliot won both the Career Development Award from the Women’s Club of Toronto and the Virginia Parker Prize from the Canada Arts Council. Pouliot has twice been featured on CBC’s 30 Hot Canadian Classical Musicians under 30. He’s also hosted CBC’s This is my Music, was featured on Rob Kapilow’s What Makes it Great? series, and was NPR’s Performance Today Artistin-Residence during the 2017-18 season in Minnesota. As Grand Prize winner of the 2016 Orchestre symphonique de Montréal Manulife Competition, Pouliot toured across South America during the summer of 2017 as soloist with the YOA Orchestra of the Americas, performing Astor Piazzolla’s Four Seasons with conductors Carlos Miguel Prieto and Paolo Bortolameolli. He later returned to Montreal where he was featured in recital at the Montreal Symphony’s La Virée Classique. A prolific recitalist and chamber musician, Pouliot has performed in Chicago, Los Angeles, Montreal, and Toronto, and will perform at Pepperdine University, the Isabel Bader Center in Kingston, and the Ottawa Chamber Music series in the 2019-20 season.
Since his orchestral debut at age 11, Pouliot has regularly performed with the orchestras of Aspen, Calgary, Edmonton, Pacific, Toronto, Vancouver, and the National Arts Centre. Internationally, Pouliot has performed as soloist with the Sofia Philharmonic Orchestra in Bulgaria, and Orchestras of the Americas on their South American tour. He has collaborated with musical luminaries such as conductors Sir Neville Marriner, David Afkham, Pablo Heras Casado, David Danzmyer, Nicolas McGegan, Brett Mitchell, Vasily Petrenko, Alexander Shelley, and Hugh Wolff. Pouliot studied violin in Canada with Marie Berard and Erika Raum, and completed his training as an associate of The Royal Conservatory of Music in Toronto. He graduated from the Colburn School Conservatory of Music, where he studied with Robert Lipsett, the Jascha Heifetz Distinguished Violin Chair. Pouliot performs on the 1729 Guarneri del Gesù, on generous loan from the Canada Council for the Arts Musical Instrument Bank as First Laureate of both their 2018 and 2015 Competition.
Hsin-I Huang Piano Quickly becoming recognized as today’s most sought after collaborative pianist, Hsin-I has been praised on concert stages in Germany, Russia, Japan, Korea, and Taiwan. In the U.S., Hsin-I has played in esteemed venues such as Disney Hall and Zipper Hall. She has collaborated with many artists such as Margaret Batjer, Andrew Shulman, Sheryl Staples, Chee-Yun Kim, Simone Porter, William Hagen, Blake Pouliot, Jacob Braun, LA Philharmonic principal horn Andrew Bain, associate principal violist Dale Hikawa Silverman, and cellist Tao Ni. Passionate about constantly growing as an artist and helping others grow, she regularly collaborates with students in master classes of Robert Lipsett at the Colburn School of Music. Hsin-I has made guest appearances at such venues as LA Philharmonic Chamber Music, Aspen Music Festival, Ravinia BGH Classics series, NPR’s Performance Today, Sundays Live at LACMA, South Bay Chamber Music Society, and Innsbrook Institute. Hsin-I is also an accomplished cellist, winning many national competitions in Taiwan before completely focusing on collaborative piano.
presents
NFM WROCĹ AW PHILHARMONIC Giancarlo Guerrero, Music Director and Conductor David Fray, Piano SATURDAY, JANUARY 11, 2020 | 7:30 P.M. Curtis M. Phillips Center for the Performing Arts
Sponsored by
SFI WARREN FAMILY FOUNDATION
OPUS 3 ARTISTS presents
NFM Wrocław Philharmonic Giancarlo Guerrero, Music Director and Conductor David Fray, Piano
———————— Program Symphonic Variations
Witold Lutosławski
Piano Concerto No. 2 in F minor, Op. 21
Frédéric Chopin
I. Maestoso II. Larghetto III. Allegro vivace
David Fray, Piano
———————— INTERMISSION Symphony No. 1 in C minor, Op. 68
Johannes Brahms
I. Un poco sostenuto; Allegro II. Andante sostenuto III. Un poco allegretto e grazioso IV. Adagio; Più andante; Allegro non troppo, ma con brio
———————— Mr. Fray appears by arrangement with IMG Artists. Exclusive Tour Management: Opus 3 Artists 470 Park Avenue South, 9th Floor North New York, NY 10016 www.opus3artists.com
Program Notes Symphonic Variations Witold Lutosławski Born January 25, 1913, in Warsaw; died Feb. 7, 1994 in Warsaw Witold Lutosławski, one of the leading figures among Poland’s 20th century composers, was born into a family of scholars. At 13, he began violin lessons and when he was 15, he entered the Warsaw Conservatory, and shortly after that began to study composition with Witold Maliszewski, a Rimsky-Korsakov student. For a while, he also studied mathematics at the University of Warsaw. Lutosławski composed Symphonic Variations while he was still a student. His teacher did not understand the work and even found it ugly. Lutosławski, nevertheless, introduced it as his first piece completed after finishing his studies under Witold Maliszewski at the Warsaw Conservatory. The work’s premiere, with the Symphonic Orchestra of the Polish Radio in Warsaw (now the National Symphony Orchestra of the Polish Radio), was conducted by Grzegorz Fitelberg in March 1939 in a Polish Radio Warsaw broadcast, then performed on April 17th in the courtyard of the historical Royal residence in the Wawel Castle in Kraków, Symphonic Variations demonstrates the young composer’s superlative skill, especially in his brilliant orchestration, and his knowledge of contemporary repertoire. Lutosławski considered its first performance in April 1939 as his official debut as a composer. The work, although influenced by Szymanowski and Stravinsky, is music in the early 20th century European tradition, displaying inventive freshness and an exceptional mastering of the techniques of composing. It gives the simple, folk-like theme various textural settings: as a melody with accompaniment, in dialogues of various orchestral groups, and in counterpoint. The whole composition is made up of a theme and variations grouped in four larger sections that include seven variations and a fugato conclusion. In the work, Lutosławski varies all aspects of the theme; he even treats the tone colors of its initial orchestration as an item subject to variation. As a result, there is a wide range and constant shifting of orchestral combinations through the piece, varying the tone colors from that of the initial orchestration. The rhythmic and melodic motives of the main theme are also subject to repeated variation. The first section, in a slow tempo, consists of the theme and the first of a series of unnumbered variations. The whole work feels structurally unified, which can explain why its various commentators have indicated a disparate number of perceived variations, anywhere from seven to ten. In the more spirited second section with its three variations, dialogues between groups of instruments occur. The third section contains two slow variations, highlighting a flute solo accompanied by piano, percussion, and strings. The last section contains two presentations of the theme: one uses the theme as material for imitation by the oboe, clarinet, and bassoon; near the end, the brass plays the theme for the
second part solemnly against the more spirited instruments. In his contrapuntal technique in the final section, there is a foreshadowing of Lutosławki’s later work. Historians have found that Symphonic Variations is more adventurous than the music Lutosławski composed a decade later, after the Polish government cultural authorities and Party officials from both Poland and the USSR had formally condemned his first symphony. The work is scored for piccolo, two flutes, two oboes, English horn, three clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, bass drum, snare drum, tambourine, triangle, cymbals, tam-tam, castanets, wood-block, xylophone, glockenspiel, harp, celesta, piano, and strings.
Piano Concerto No. 2 in F minor, Op. 21 Frédéric Chopin Born March 1, 1810, in Zelazowa, Poland; died October 17, 1849, in Paris In the summer of 1829, at the age of 19, Chopin completed his studies at the Warsaw Conservatory. In this same year, he wrote the Concerto in F minor, really the first of his two piano concertos, but the second to be published, which explains why it is designated by the number two. When Chopin gave his first public concert in Warsaw that December, a reviewer wrote, “Cannot Poland appreciate his talent? Among his latest works is a Concerto in F minor that is said to be the equal of the music of the finest composers in Europe.” After a few private performances, Chopin played the concerto at the National Theater on March 17, 1830 as a piano solo without orchestra, and as was then traditional, other instrumentalists played solos written by other composers between the first and second movements. At that time, concertos were almost never played straight through because it was thought such works would be too taxing for audiences to experience without another kind of musical interlude. The unity and coherence of the musical form of the concerto was not understood then as it is now. Chopin wrote his account of the concert: “The first Allegro of my concerto (unintelligible to most) received the reward of a ‘Bravo,’ but I believe this was given because people wanted to show that they understand and know how to appreciate serious music. There are people enough in all countries who like to assume the air of connoisseurs! The Adagio and Rondo produced a very great effect; after these, the applause and the ‘Bravos’ came really from the heart.” Chopin gave a farewell concert in October and then left his native Poland to travel. At the end of a year of wandering, he arrived in Paris, where a group of aristocratic Polish émigrés helped launch his career. At his first concert, Liszt, 20 years old, and Mendelssohn, 23, were both present. The powerful Parisian critics were conservative, but they nonetheless praised the innovation of this young man whose original ideas and new style they found elegant, free, graceful, and pure. Years later, Liszt recalled his enthusiasm for Chopin’s “new kind of poetic sentiment combined with felicitous formal innovations.” Mendelssohn and
others wrote admiringly of the perfection of Chopin’s piano technique and were covetous of the light touch (and consequent small tone) that made it possible. Chopin’s orchestral score provides a light background for a fleet-fingered pianist who is able to attain a great variety of expression within a very small range, and conductors now are sensitive to match the accompaniments, as Chopin wrote them, to this type of soloist. The poetic lyricism of Chopin’s piano-style is fresh; the young composer was able to build long movements out of his melodious themes with consummate skill. The first movement, a noble Maestoso, begins with an orchestral exposition of the principal themes following Classical tradition. The piano enters, repeating the first theme, and from then on, the orchestra provides only supporting background. The second movement, Larghetto, supposedly was inspired by Chopin’s love for Constantia Gladkowska. Chopin reputedly showed a preference for the movement and liked to perform it frequently. Of its composition he wrote to a friend, “Six months have elapsed, and I haven’t yet exchanged a syllable with her of whom I dream every night—she who was in my mind when I composed the Adagio of my Concerto.” This movement is a dreamy Nocturne with an impassioned middle section. The lively finale, Allegro vivace, marked “simply and gracefully,” has the dancing rhythms of a mazurka. It incorporates a contrasting scherzando section in the style of an oberek, an exuberant rustic dance that is a faster form of the mazurka. For this part, Chopin uses violin and violas playing with the wood part of the bow (col legno) to simulate the clapping of hands. It has simple brilliance and its melodies are irresistible. The concerto is scored for two flutes, two oboes, two clarinets, two bassoons, two horns and two trumpets, one trombone, timpani, and strings.
Symphony No. 1 in C minor, Op. 68 Johannes Brahms Born May 7, 1833, in Hamburg; died April 3, 1897, in Vienna Twenty-two years before Brahms completed Symphony No. 1, he began to think about composing a symphonic work when his fellow composer Robert Schumann, in a review of the young Brahms’s work, publicly compared his music to that of Beethoven. Finally, eight years later, Brahms began to work on the music that was to become Symphony No. 1, but he would not complete the symphony for 14 more years. His colleagues, especially Schumann, anticipated the symphony’s appearance eagerly, but their anticipation did not hasten Brahms. “Composing a symphony is no laughing matter,” he once said, and at another time, “I shall never finish a symphony. You have no idea how it feels to hear behind you the tramp of a giant like Beethoven.” In 1862, Brahms sent Clara Schumann, Robert’s wife, a sketch of a first movement, minus the introduction, of music that would evolve into his Symphony No. 1. A few years later, in 1868, he sent Clara a birthday song that later he used as the horn theme in the symphony’s finale. Even though the awe
Beethoven instilled in Brahms was formidable, Brahms understood what he needed to do to follow in Beethoven’s footsteps in an acceptable way. He had to synthesize and balance the elements of the Classical and the Romantic in music. In 1876, when Brahms was 43 years old, he was offered the position of music director in Düsseldorf, and when he tentatively decided to leave Vienna to go there, he wrote a friend that “I have arrived at the decision to come out with a symphony. . .. I just think I ought to offer the Viennese something presentable by way of farewell.” He decided against leaving Vienna, but he did finally allow his first symphony to be released. The première performance took place on November 4th at the Grand Ducal Theater in Karlsruhe. Because he trusted the conductor and admired the orchestra of this small city, Brahms refused offers to premiere the symphony elsewhere, but soon after the premiere he conducted the work himself in Mannheim, Munich, and Vienna. At early performances, the reception was quite cold; listeners were at first puzzled by the work’s combination of restrictive formality and expansive expression, but, of course, it eventually became one of the most popular symphonies in the repertory. The symphony opens with a broad introduction, Un poco sostenuto, that leads to the vigorous main section of the first movement, Allegro. In the very beginning, Brahms gives the violins prominent ascending notes (by half-steps: C, C#, and D), which become evident again at many spots throughout the movement. The violins announce the first theme, while the second theme appears in the woodwinds. The music is austere and displays restlessness and a kind of brooding melancholy. The lovely second movement, Andante sostenuto, is lyrical and serene but restrained. Two different oboe solos are particularly noteworthy in this movement. The coda is unusual with a solo for the horn with a violin obbligato, which culminates with a tender reprise of the chromatic notes that began the symphony. In place of a scherzo like those Beethoven used or a minuet like those Haydn favored for the third movement, Brahms composed a brief, lighthearted intermezzo, Un poco allegretto e grazioso, with a contrasting trio or middle section. The opening subject is heard first in the clarinet; it is similar in structure and character to the second subject of the preceding movement, where Brahms also used the clarinet. Grove called this theme a “sort of national tune or Volkslied of simple sweetness and grace.” Brahms planned the third movement as a foil for the matchless grandeur of the Finale, which, similar to the first movement, begins with a tensely dramatic Adagio introduction. This introduction is exceptionally protracted; in fact, its length equals that of the preceding movement. Like Beethoven in his Symphony No. 5, Brahms waits until the final movement to unleash the trombones, monumental here in the heroic trombone chorale of the introduction. Toward the end of the section, the tempo changes, and a horn calls for attention to the movement’s principal section, Allegro non troppo, ma con brio, with its broad hymn-like main theme. This theme unquestionably owes a large debt to Beethoven’s Symphony No. 9. Brahms’s answer when this obvious “reminiscence” or affinity was pointed out to him was,
“Any ass can hear that.” At early performances, comparisons of the thematic melody with the theme of the finale of Beethoven’s Ninth Symphony made Brahms’s partisans accept the idea of calling it “Beethoven’s Tenth Symphony;” however, in truth, the resemblance is slight, except that the listener is aware of a struggle and then a resolution. Actually, neither the last symphony of Beethoven nor the first of Brahms needs or gains from the comparison. The movement concludes with a speeding up, or stretto, and heroic treatment of the trombone chorale that had been introduced in the beginning of the movement. The score of the Symphony No. 1 calls for two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, and strings. — Program notes are copyright © Susan Halpern, 2019
NFM Wrocław Philharmonic Together with a number of renowned guest artists and its newly appointed Music Director Giancarlo Guerrero, the NFM Wrocław Philharmonic is at the heart of Polish music scene. The orchestra was founded in 1945 as both a symphony and an opera orchestra. In 1949 it became the State Opera Orchestra and held symphonic concerts sporadically until 1954, when it became an independent symphony orchestra. In 1994 it adopted the name of Witold Lutosławski in memory of the great composer, and on the opening Wrocław’s new concert hall, the National Forum of Music in 2015, it became the NFM Wrocław Philharmonic. The National Forum of Music, located in the historic center of Wrocław, operates a state-of-the-art multifunctional concert venue. The acoustics and theater design of the concert halls was the work of the renowned New York-based Artec Consultants Inc (now Arup) and led by Tateo Nakajima. The building of the NFM has been designed by the esteemed polish architect Stefan Kuryłowicz and the Kurylowicz & Associates Architectural Design Studio. The orchestra participates in a huge range of projects each season, including subscription concerts, education projects, recordings, radio broadcasts, and outdoor concerts. The educational activities include concerts for young people and collaborations with the Karol Lipiński Academy of Music in Wrocław and the NFM Orchestra Academy and Choral Academy. Thanks to its collaborations with festivals presented by the National Forum of Music, such as Jazztopad and Musica Electronica Nova, the Wrocław Philharmonic enjoys regular collaborations with some leading avant garde and jazz artists such as John Zorn, Wynton Marsalis with Jazz at Lincoln Center Orchestra, and Terje Rypdal. From 2006-2013, the orchestra was led by Jacek Kaspszyk, who contributed greatly to the ensemble’s development during his seven-year tenure as principal conductor and artistic director. He was succeeded by Benjamin Shwartz from 2013 to 2016. In 2016, the city of Wrocław was hailed as the European Capital of Culture
and the orchestra’s performances accompanied the celebrations that season. The NFM Wrocław Philharmonic has worked with many fine guest conductors, among them Giovanni Antonini, Andrey Boreyko, Philippe Herreweghe, Paul McCreesh, Dima Slobodeniouk, Krzysztof Penderecki, and Mario Venzago. The orchestra has worked with all of Poland’s great 20th century composers including Witold Lutosławski, Paweł Mykietyn, Krzysztof Penderecki, Elzbieta Sikora, Stanisław Skrowaczewski, and Agata Zubel. Promoting Polish music is a special focus of the orchestra who regularly perform in prominent venues in Poland as well as throughout Europe and the United States. Past international tours have included works by Szymanowski, Lutosławski, Górecki, and Penderecki. The NFM Wrocław Philharmonic regularly performs works commissioned by the National Forum of Music and has a growing international presence with its commitment to presenting Classical and Romantic masterworks as well as 20th and 21st century symphonic repertoire and contemporary Polish composers. The orchestra’s numerous, award-winning albums include Witold Lutosławski: Opera omnia, a recording of the complete works of the prominent 20th century composer (CD Accord). The latest releases include an album of music by Paweł Mykietyn, recorded with Benjamin Shwartz on CD Accord, which was nominated for a Fryderyk in the Album of the Year – Contemporary Music category, and a recording of Arvo Pärt’s four symphonies under the baton of Tõnu Kaljuste (ECM).
Giancarlo Guerrero Conductor Giancarlo Guerrero is a six-time Grammy® Award-winning conductor now in his eleventh season as Music Director of the Nashville Symphony. Guerrero is also Music Director of the NFM Wrocław Philharmonic at the National Forum of Music in Poland and Principal Guest Conductor of the Gulbenkian Orchestra in Lisbon, Portugal. Guerrero has been praised for his “charismatic conducting and attention to detail” (The Seattle Times) in “viscerally powerful performances” (The Boston Globe) that are “at once vigorous, passionate, and nuanced” (BachTrack).
Photo by Kurt Heinecke
Through commissions, recordings, and world premieres, Guerrero and the Nashville Symphony have championed the works of American composers who are defining today’s musical landscape, making Nashville a destination for contemporary orchestral music. Guerrero has presented 11 world-premieres with the Nashville Symphony, including the Grammy-winning performance of Michael Daugherty’s Tales of Hemingway and Terry Riley’s Palmian Chord Ryddle.
Guerrero’s rich discography with the Nashville Symphony numbers 17, including the 2019 Naxos release of world premiere recordings of works by Jonathan Leshnoff, with the composer’s Symphony No. 4 “Heichalos.” The symphony was commissioned by the Nashville Symphony for the Violins of Hope, a collection of restored instruments that survived the Holocaust. This recording marks the first time the instruments have been heard on a commercially available album. In a glowing review of Guerrero’s recording of John Harbison’s Requiem with the Nashville Symphony and Chorus released in 2018, MusicWeb International declared, “Giancarlo Guerrero brings out not just the drama but also the many subtleties in the score.” Other recent albums have been dedicated to the music of composers as diverse as Terry Riley, Richard Danielpour, Joan Tower, and Béla Fleck. During the 2019/2020 season, Naxos will release recordings of Aaron Jay Kernis’ Symphony No. 4 and Christopher Rouse’s Concerto for Orchestra, both recorded with the Nashville Symphony at Schermerhorn Symphony Center. As part of his commitment to fostering contemporary music, Guerrero, together with composer Aaron Jay Kernis, guided the creation of Nashville Symphony’s biannual Composer Lab & Workshop for young and emerging composers. Guerrero enjoys relationships with orchestras around the world. His 2019/20 season will include return engagements with the Boston Symphony, Orquestra Sinfônica do Estado de São Paulo, Deutsches Symphonie-Orchester Berlin, Bamberg Symphony, Frankfurt Opera and Museums Orchestra, and the New Zealand Symphony. In January 2020, Guerrero conducts the NFM Wrocław Philharmonic on a 12-city North American tour. Maestro Guerrero has appeared with prominent North American orchestras, including those of Baltimore, Cincinnati, Chicago, Cleveland, Dallas, Detroit, Houston, Indianapolis, Los Angeles, Milwaukee, Montréal, Philadelphia, Seattle, Toronto, Vancouver, and the National Symphony Orchestra. He has developed a strong international guest-conducting profile and has worked in recent seasons with the Frankfurt Radio Symphony, Brussels Philharmonic, Deutsches Radio Philharmonie, Orchestre Philharmonique de Radio France, Netherlands Philharmonic, Residentie Orkest, NDR in Hannover, Orquesta Sinfónica de Galicia, and the London Philharmonic Orchestra, as well as the Queensland Symphony and Sydney Symphony in Australia. Guerrero was honored as the keynote speaker at the 2019 League of American Orchestras conference, where his address on transforming “inspiration and innovation into meaningful action” was met with a unified standing ovation. Guerrero made his debut with Houston Grand Opera in 2015 conducting Puccini’s Madama Butterfly. Early in his career, he worked regularly with the Costa Rican Lyric Opera and has conducted new productions of Carmen, La bohème, and Rigoletto. In 2008 he gave the Australian premiere of Osvaldo Golijov’s one-act opera Ainadamar at the Adelaide Festival.
Guerrero previously held posts as the Principal Guest Conductor of The Cleveland Orchestra Miami (2011-2016), Music Director of the Eugene Symphony (20022009), and Associate Conductor of the Minnesota Orchestra (1999-2004). Born in Nicaragua, Guerrero immigrated during his childhood to Costa Rica, where he joined the local youth symphony. As a promising young student, he came to the United States to study percussion and conducting at Baylor University in Texas; he earned his master’s degree in conducting at Northwestern, where he studied with Victor Yampolsky. Given his beginnings in civic youth orchestras, Guerrero is particularly engaged with conducting training orchestras and works regularly with the Curtis School of Music, Colburn School in Los Angeles, and Yale Philharmonia, as well as with the Nashville Symphony’s Accelerando program, which provides music education to promising young students from underrepresented ethnic communities. In recent years, he has developed a relationship with the National Youth Orchestra (NYO2) in New York, created and operated by the Weill Institute of Music at Carnegie Hall.
David Fray Pianist Described by the press as the “perfect example of a thinking musician” (Die Welt) and acclaimed for his interpretations of music from Bach to Boulez, David Fray performs in the world’s major venues as a recitalist, soloist, and chamber musician. He has collaborated with leading orchestras under distinguished conductors such as Marin Alsop, Semyon Bychkov, Andrey Boreyko, Christoph Eschenbach, Photo by Paulo Roversi Daniele Gatti, Paavo Järvi, Kurt Masur, Riccardo Muti, Esa-Pekka Salonen, Michael Sanderling, Yannick Nézet-Séguin, and Jaap van Zweden. Orchestral appearances in Europe have included the Royal Concertgebouw Orchestra, Bavarian Radio Orchestra, Budapest Festival Orchestra, Philharmonia Orchestra, Academy of St Martin in the Fields, London Philharmonic, Dresden Philharmonic, Deutsche Kammerphilharmonie Bremen, Salzburg Mozarteum, Orchestra del Teatro alla Scala, Orchestre de Paris, and Orchestre National de France. David Fray made his U.S. debut in 2009 with the Cleveland Orchestra followed by performances with the Boston Symphony, San Francisco Symphony, New York Philharmonic, Chicago Symphony, and the Los Angeles Philharmonic. He has given recitals at Carnegie Hall, Lincoln Center, Park Avenue Armory in New York, Chicago’s Orchestra Hall, and appears regularly at the Vienna Konzerthaus, Mozarteum Salzburg, London’s Wigmore Hall, Théâtre des Champs Elysées, and many other major venues.
This season, Mr. Fray tours the United States with the NFM Wrocław Philharmonic with Giancarlo Guerrero and returns to the Baltimore Symphony with Marin Alsop, the Van Cliburn Foundation, and the Los Angeles Chamber Orchestra. He embarks on recital tours with Bach Goldberg Variations in Europe, Russia, and China, where he also tours with the Vienna Radio Symphony. Mr. Fray will perform Bach keyboard concertos for two, three, and four pianos in Abu Dhabi, and will collaborate in recital with violinist Renaud Capuçon as well as baritone Benjamin Appl. He also starts his residency at the Liszt Academy of Music in Budapest as a visiting professor. Last season, Mr. Fray returned to North America with the Chicago Symphony, the New York Philharmonic, San Francisco Symphony, the Dallas Symphony, and the National Arts Centre Orchestra. The Théâtre des Champs Elysées presented a Bach cycle with David Fray performing Bach’s keyboard concertos, Sonatas with Renaud Capuçon, and Goldberg Variations. He gave recitals in Amsterdam, Budapest, Dresden, Milan, Istanbul, Santiago, and toured South Korea and Russia. European orchestral collaborations included the Leipzig Gewandhaus Orchestra, the Vienna Radio Symphony, and play-directing the Casa da Musica Orchestra in Porto. Mr. Fray released two discs this past season: Bach Concertos for 2, 3, and 4 Pianos, a “musical family affair” along with his teacher Jacques Rouvier and his former students Audrey Vigoureux and Emmanuel Christien, and Bach Violin Sonatas with Renaud Capuçon. In 2017, Mr. Fray released a CD of selected Chopin piano works which was followed by his first public performances of the composer’s music. The previous disc called Fantaisie, an album of Schubert’s late piano works, was named Gramophone Editor’s Choice and Sinfini Music called it “one of the most appealing listening experiences of present times” and “exceptionally thoughtful and touching.” Mr. Fray records exclusively for Erato/Warner Classics and his first album with works of Bach and Boulez was praised as the “best record of the year” by The London Times and Le Soir. Mr. Fray’s second release, a recording of Bach keyboard concerti with the Deutsche Kammerphilharmonie Bremen, was awarded by the German Recording Academy. An album with Schubert Moments Musicaux and Impromptus followed. Mr. Fray’s other critically acclaimed releases include Mozart Piano Concertos Nos. 22 and 25 with the Philharmonia Orchestra and Jaap van Zweden and Bach Partitas Nos. 2 and 6 along with Toccata in C minor. In 2008, the TV network ARTE +7 presented a documentary on David Fray directed by the renowned French director Bruno Monsaingeon. The film, Sing, Swing & Think, was subsequently released on DVD. David Fray holds multiple awards including the German Echo Klassik Prize for Instrumentalist of the Year and the Young Talent Award from the Ruhr Piano Festival. In 2008 he was named Newcomer of the Year by BBC Music Magazine. At the 2004 Montreal International Music Competition, he received both the Second Grand Prize and the Prize for the best interpretation of a Canadian work. David Fray started taking piano lessons at the age of 4. He furthered his studies with Jacques Rouvier, who is also featured on his latest Schubert album, at the Conservatoire National Supérieur in Paris.
NFM WROCŁAW PHILHARMONIC Giancarlo Guerrero, Music Director and Conductor Violin I
Radosław Pujanek (First Concertmaster) Marcin Danilewski (Concertmaster) Dariusz Blicharski Bartosz Bober Dorota Bobrowicz Maria Brzuchowska Ewa Dragon Danuta Drogowska Beata Dziekańska Jowita Kłopocka Malwina Kotz Sylwia Puchalska Beata Solnicka Dorota Tokarek Anna Undak Andrzej Woźnica
Violin II
Wojciech Hazuka (Concertmaster) Tomasz Bolsewicz Wioletta Porębska Tomasz Kwieciński Wojciech Bolsewicz Alicja Iwanowicz Marzanna Kałużny Lilianna Koman-Blicharska Małgorzata Kosendiak Anita Koźlak Andrzej Michna Alicja Ptasiński Anna Szufłat Anna Wałek
Viola
Artur Tokarek Magdalena Dobosz Bożena Nawojska Paweł Brzychcy Bogusława Dmochowska Marlena Grodzicka-Myślak Ewa Hofman Wojciech Koczur Marzena Malinowska Michał Mazur Wiktor Rudzik Aleksandra Wiśniewska
Cello
Maciej Młodawski (First Concertmaster) Maciej Kłopocki (Concertmaster) Jan Skopowski Ewa Dymek-Kuś Lidia Broszkiewicz Miłosz Drogowski Radosław Gruba Anna Korecka Dorota Kosendiak Robert Stencel
Double Bass
Janusz Musiał (Concertmaster) Damian Kalla Czesław Kurtok Jacek Sosna (Personnel Manager) Jan Galik Marek Politański Tomasz Iwanek Jan Kołacki
Flute
Jan Krzeszowiec Małgorzata Świętoń Henryk Rymarczuk
Oboe
Bassoon
Alicja Kieruzalska Józef Czichy Bernard Mulik
French Horn
Mateusz Feliński Adam Wolny Łukasz Łacny Czesław Czopka Jan Grela Robert Wasik
Trumpet
Aleksander Kobus Aleksander Zalewski Paweł Spychała Justyna Maliczowska
Trombone
Eloy Panizo-Padron Wojciech Nycz Mariusz Syrowatko
Tuba
Piotr Kosiński
Percussion
Miłosz Rutkowski Camille Bialas Adrian Schmid Krystyna Wojciechowska
Wojciech Merena Aleksandra Majda
Timpani
Oboe/English Horn
Harp
Stefan Małek
Clarinet
Maciej Dobosz Mariola Molczyk Michał Siciński Arkadiusz Kwieciński
Diego Yanez Busto Malwina Lipiec-Rozmysłowicz Krzysztof Waloszczyk
Piano
Agnieszka KopackaAleksandrowicz
Celesta
Katarzyna Falana
———————— FOR OPUS 3 ARTISTS David V. Foster, President and CEO Leonard Stein, Senior Vice President, Director, Touring Division Robert Berretta, Vice President, Manager, Artists and Attractions Tania Leong, Associate, Touring Division Grace Hertz, Assistant, Artists and Attractions John Pendleton, Company Manager Thomas F. Eirman, Stage Manager
presents
CHANTICLEER
WEDNESDAY, JANUARY 22, 2020 | 7:30 P.M. Curtis M. Phillips Center for the Performing Arts
CHANTICLEER TRADE WINDS Cortez Mitchell, Gerrod Pagenkopf*, Kory Reid, Alan Reinhardt, Logan Shields, Adam Ward — countertenor Brian Hinman*, Matthew Mazzola, Andrew Van Allsburg — tenor Andy Berry*, Zachary Burgess, Matthew Knickman — baritone and bass William Fred Scott — Music Director I. Zefiro torna, e’l bel tempo rimena
Claudio Monteverdi (1567-1643)
Bella Angioletta
Carlo Gesualdo (1566-1613)
Sfogava con le stelle†
Monteverdi
Ecco mormorar l’onde†
Monteverdi II.
Ave maris stella
Edvard Grieg (1843-1907)
Ave maris stella
Tomás Luis de Victoria (1548-1611)
Never Weather-beaten Sail
Sir Charles Hubert Hastings Parry
(1848-1918)
III. Missa O Soberana Luz
Filipe de Magalhães (1571-1652)
Kyrie Gloria Sanctus and Benedictus Agnus Dei
IV. Trade Winds
Zhou Tian
Trade Winds by John Masefield Fortuitousness” by Zhimo Zu Strange how we can walk (in L.A.) by Seth Michelson Commissioned by Chanticleer in 2018, with a gift from Keith Jantzen and Scott Beth in honor of William Fred Scott
———————— INTERMISSION
(b. 1981)
V. A selection of folksongs from our Pacific neighbors to be chosen from…
Spring Dreams†
Chen Yi (b. 1953)
Mo Li Hua†
Trad. Chinese arr. Chen Yi
Voices of Autumn†
Jackson Hill
The Lullaby of Edo
Trad. Japanese
(b. 1941) arr. Takatomi Nobunaga
Nature Carol
Trad. Filipino arr. Malcolm Sargent
Arirang†
Trad. Korean, arr. Chen Yi
Trade Winds
Trad. Australian arr. Stephen Leek
Hine e Hine
Princess Te Rangi Pai (1868-1916) arr. David Hamilton
VI. The Sailor and Young Nancy
Norfolk Folk Song
arr. E.J. Moeran
Swansea Town
Welsh Sea Shanty arr. Gustav Holst
I Love My Love
Cornish Folk Song arr. Holst
Tom’s Gone to Hilo
English Sea Shanty arr. Shaw/Parker
VII. Blue Skies†
Irving Berlin (1888-1989) arr. Joseph H. Jennings
(Everywhere I Go) Somebody Talkin’ ’bout Jesus†
Trad. Spiritual arr. Jennings
Program subject to change. †These pieces have been recorded by Chanticleer. No recording or photography is permitted. *Andy Berry occupies The Eric Alatorre Chair, given by Peggy Skornia. Brian Hinman occupies the Tenor Chair, given by an Anonymous Donor. Gerrod Pagenkopf occupies The Ning G. Mercer Chair for the Preservation of the Chanticleer Legacy, given by Ning and Stephen Mercer.
Chanticleer Called “the world’s reigning male chorus” by The New Yorker, the San Franciscobased Grammy® award-winning ensemble Chanticleer has just celebrated the 40th anniversary of its 1978 founding. During the 2019-20 season, Chanticleer will perform 57 concerts in 28 of the United States and Puerto Rico, 21 concerts in the San Francisco Bay Area, and 10 on a European tour to Germany, France, Poland, and Italy. At the end of the 2019-20 season, Chanticleer will return to Australia for the first time since 1997 for 10 concerts in eight cities, and make its debut in New Zealand. Praised by the San Francisco Chronicle for its “tonal luxuriance and crisply etched clarity,” Chanticleer is known around the world as “an orchestra of voices” for its seamless blend of 12 male voices ranging from soprano to bass and its original interpretations of vocal literature, from Renaissance to jazz and popular genres, as well as contemporary composition. Chanticleer’s 2019-20 season is the fifth under the direction of Music Director William Fred Scott. Trade Winds features songs from exotic climes and the music of seagoing peoples. Chanticleer’s popular A Chanticleer Christmas is heard this season in Virginia, New York, New Jersey, and Illinois before coming home for performances in the Bay Area and Southern California. A Chanticleer Christmas is broadcast annually on more than 300 affiliated public radio stations nationwide. Paradise, exploring the many facets of heaven, ends the season with a world premiere by composer Steven Sametz. Inaugurated last season in the Bay Area, Chanticleer’s Salon Series has offered intimate experiences in unusual locations. The 2019-20 season opens with a Salon Series performance of Trade Winds at the Spaulding Marine Center in Sausalito, and continues with Inside Chanticleer, a five-part, one of a kind look behind Chanticleer’s music.
With the help of individual contributions, government, foundation, and corporate support, Chanticleer’s education programs engaged more than 8,000 last season. Primary and middle school students have received special attention, and Chanticleer’s Louis A. Botto (LAB) Choir activities reach hundreds of high schoolers each year. Other activities of Chanticleer’s award-winning education program include workshops given around the country as the ensemble tours, : Youth Choral Festivals™ in the Bay Area and around the country; Skills/LAB–an intensive summer workshop for 50 high school students; and master classes for university students nationwide. Chanticleer’s educational programs were recognized with the 2010 Chorus America Education Outreach Award. Since the group began releasing recordings in 1981, it has sold well over a million albums and won two Grammy® awards. Chanticleer’s recordings are distributed by Warner Classics, Chanticleer Records, Naxos, ArkivMusic, Amazon, and iTunes among others, and are available on Chanticleer’s website: www.chanticleer.org. Then and There, Here and Now, Chanticleer’s most recent studio recording, was recorded for Warner Classics. In 2014, Chorus America conferred the inaugural Brazeal Wayne Dennard Award on Chanticleer’s Music Director Emeritus Joseph H. Jennings to acknowledge his contribution to the African-American choral tradition during his 25 year (19832009) tenure as singer and music director with Chanticleer. The hundred plus arrangements of African-American gospel, spirituals, and jazz made by Jennings for Chanticleer have been given thousands of performances worldwide—live and on broadcast—and have been recorded by Chanticleer for Warner Classics and Chanticleer Records. Chanticleer’s long-standing commitment to commissioning and performing new works was honored in 2008 by the inaugural Dale Warland/Chorus America Commissioning Award and the ASCAP/Chorus America Award for Adventurous Programming. Among the more than 60 composers commissioned are Mark Adamo, Matthew Aucoin, Mason Bates, Régis Campo, Chen Yi, David Conte, Shawn Crouch, Douglas J. Cuomo, Brent Michael Davids, Anthony Davis, Gabriela Lena Frank, Guido López-Gavilán, Stacy Garrop, William Hawley, John Harbison, Jake Heggie, Jackson Hill, Kamran Ince, Jeeyoung Kim, Tania León, Jaakko Mäntyjärvi, Michael McGlynn, Peter Michaelides, Nico Muhly, John Musto, Tarik O’Regan, Roxanna Panufnik, Stephen Paulus, Shulamit Ran, Bernard Rands, Steven Sametz, Carlos Sanchez-Guttierez, Jan Sandström, Paul Schoenfield, Steven Sametz, Steven Stucky, John Tavener, Augusta Read Thomas, Janike Vandervelde, and Zhou Tian. Named for the “clear-singing” rooster in Geoffrey Chaucer’s Canterbury Tales, Chanticleer was founded in 1978 by tenor Louis A. Botto, who sang in the ensemble until 1989 and served as Artistic Director until his death in 1997. Chanticleer became known first for its interpretations of Renaissance music, and was later a pioneer in the revival of the South American baroque, recording several award-winning titles in that repertoire. Chanticleer was named Ensemble
of the Year by Musical America in 2008, and inducted into the American Classical Music Hall of Fame the same year. William Fred Scott was named Music Director in 2014. A native of Georgia, Scott is the former Assistant Conductor to Robert Shaw at the Atlanta Symphony, former Artistic Director of the Atlanta Opera, an organist and educator. Chanticleer—a 501(c)(3) non-profit corporation—is the current recipient of major grants from the Ann and Gordon Getty Foundation, The William & Flora Hewlett Foundation, The Dunard Fund/USA, The Bernard Osher Foundation, The National Lottery through the Arts Council of Northern Ireland, The Bob Ross Foundation, Grants for the Arts/San Francisco Hotel Tax Fund, and The National Endowment for the Arts. Chanticleer’s activities as a not-for-profit corporation are supported by its administrative staff and Board of Trustees.
MARCH PAUL TAYLOR DANCE COMPANY
SPRING 2 0 2 0
EVENTS JANUARY RED HORSE THURSDAY, JANUARY 23 UPSTAGE AT THE PHILLIPS CENTER
CATHERINE RUSSELL THURSDAY, JANUARY 30 UPSTAGE AT THE PHILLIPS CENTER
FEBRUARY CRISTINA PATO QUARTET SATURDAY, FEBRUARY 1
FRIDAY, MARCH 6 PHILLIPS CENTER
NAREK HAKHNAZARYAN, CELLO NOREEN POLERA, PIANO SUNDAY, MARCH 8 SQUITIERI STUDIO THEATRE
AARON DIEHL TRIO WEDNESDAY, MARCH 11 UPSTAGE AT THE PHILLIPS CENTER
ANDREW COLLINS TRIO THURSDAY, MARCH 19 UPSTAGE AT THE PHILLIPS CENTER
PAULA POUNDSTONE FRIDAY, MARCH 20 PHILLIPS CENTER
VERONA QUARTET SUNDAY, MARCH 29 UNIVERSITY AUDITORIUM
UKULELE ORCHESTRA OF GREAT BRITAIN
UNIVERSITY AUDITORIUM
TUESDAY, MARCH 31
INVERTIGO DANCE THEATRE FORMULAE & FAIRY TALES
APRIL
WEDNESDAY, FEBRUARY 5 PHILLIPS CENTER
JONATHAN SWENSEN, CELLO
PHILLIPS CENTER
NEW THIS SEASON!
THEATRE FOR THOUGHT THURSDAY-SATURDAY, APRIL 2-4
FRIDAY, FEBRUARY 7
SQUITIERI STUDIO THEATRE
SQUITIERI STUDIO THEATRE
COMPAGNIA TPO FARFALLE
MUMMENSCHANZ YOU & ME
FRIDAY-SUNDAY, APRIL 17-19
SUNDAY, FEBRUARY 9
SQUITIERI STUDIO THEATRE
PHILLIPS CENTER
LEELA DANCE COLLECTIVE SPEAK
TREY MCLAUGHLIN AND THE SOUNDS OF ZAMAR
TUESDAY, APRIL 21
SATURDAY, FEBRUARY 15
PHILLIPS CENTER
PHILLIPS CENTER
SHANA TUCKER CHAMBERSOUL CELLO & SONGS
JONTAVIOUS WILLIS SATURDAY, FEBRUARY 22
FRIDAY, APRIL 24
UPSTAGE AT THE PHILLIPS CENTER
UPSTAGE AT THE PHILLIPS CENTER
THE KNIGHTS WITH GIL SHAHAM, VIOLIN
DALA SATURDAY, APRIL 25
WEDNESDAY, FEBRUARY 26
UPSTAGE AT THE PHILLIPS CENTER
PHILLIPS CENTER
NATIONAL GEOGRAPHIC LIVE PHOTOGRAPHY WITHOUT BORDERS WITH ANNIE GRIFFITHS
PERFORMINGARTS.UFL.EDU 352.392.ARTS
SUNDAY, APRIL 26 PHILLIPS CENTER
LEGACY LEADERS University of Florida Performing Arts recognizes cumulative contributions of more than $1 million from the following donors: Drs. Martin and Sandra Fackler Dr. Curtis and Mrs. Barbara Phillips Alan and Carol Squitieri
2019|2020 UNIVERSITY OF FLORIDA PERFORMING ARTS AFFILIATES BENEFACTOR | $10,000 and above Jamie Betz Mr. and Mrs. Nathan S. Collier Dr. Sandra Fackler
Shelley Melvin Pamphalon Foundation David and Regina Richardson
Russell and Brenda Robinson Carol Squitieri
SUPERCELEBRITY | $7,500 and above The Londono Fund for Arts
CELEBRITY | $5,000 and above Marc A. Gale Infinite Energy Dr. Pauline O. Lawrence and Dr. Carlton G. Davis
Ted and Hallie McFetridge Don and Donna Quincey Warren Family Foundation
SUPERSTAR | $2,500 and above Anonymous Ron and Barb Abel Dr. Elizabeth Bedell Roger and Linda Blackburn Edward and Joanne Block Donald and Cecilia Caton Nancy and Dave Denslow Dr. Kelly and Mrs. Angela Foote Ira Gessner Pat and Fred Harden Roy Hunt Carolyn and Donald Jackson
Joan and Richard Jones Clayton and Linda Kallman Steve and Barb Landay Phyllis Levitt Drs. Jane and Michael Levy Drs. Henri and Nelson Logan Eileen McCarthy Smith Dr. and Mrs. Michael Scott Okun Vanda and Al O’Neill Carlos Rainwater Susan and Robert Rout Lorna Rubin
Steve and Carol Shey Consuelo Soldevila-Pico Robert and Carolyn Thoburn Dr. and Mrs. Henry L. Tosi Jan and Carl Wagner Susan Washer Wes and Brenda Wheeler Drs. Dean and Peggy White Carole and Bill Zegel
HEADLINER | $1,750 and above Bhavna and Gabu Bhardwaj Mike Hastings Elaine Jacobson Ellen and Kenneth James — KET Enterprises
Drs. William and Carol Kem Suzanne Leahy Bobbie Robinson Bill and Theresa Vernetson Mark and Mary Wise
Dr. Steven and Nicole Yucht, Emergency Physicians Medical Center
Jeffrey and Cynthia Catlin Neil and Sandhya Chedda (DiVin Properties) Drs. Nancye and Richard Childers Janet L. Christie Mary Christman Richard Coffel Charna and Stuart Cohn Dr. and Mrs. David Colburn C. Richard and Ruth Conti Linda Costner Byron Croker Cruz Davis Family & Cosmetic Dentistry
Sheila K. Dickison Mike and Ann Dillon Connie Doerffel James and Mary Donohoe Consuelo and Bruce Edwards Donald and Mary Lou Eitzman Marie-Carmelle Elie Marcia and Wesley Eubank Cherie Fine Ryan Frankel Chuck and Lynn Frazier Suzanne Gaintner Claire Germain and Stuart Basefsky
STAR | $1,000 and above Charles and June Allen Mitzi Austin Bonnie Baker Rod and Beverly Bartlett Frank and Hikmet Bates Laura and Kenneth Berns Kim Blackburn David and Linda Bloom Bennett and Arlene Brummer Oris (Lester) and Patricia Burkett Theodore Burns In Memory of Miriam C. Cadelinia Dr. Nicholas and Elayne Cassisi
Jim and Ellen Gershow Garrett Gleim Dr. Joseph Glover Bill Gobus Eric Godet Thomas and Helen Gyllstrom Jeff and Pat Hagen Diane E. Haines Dr. Heather Harrell Bob and Carolyn Harrell Stacia and David Hays Robert and Grace Hemmes Dr. Brian and Melissa Hoh Charles I. and Carolyn C. Holden Carolyn Holland Robert and Lynne Holt Nora Lee Hoover and Amor Villar Angela and Bill Hoppe Rebecca and Richard Howard Robert Hyatt Linda Y. Jackson Page and Claire Jacobson Mike and Michelle Jaffee John James Jack and Linda Jenkins Brian Jose and Patty Candella Hal and Karen Kapell Julee Kienast John Kish Sandra Kramer
Maggie Labarta Mark E. and Alison Law Gilbert Levy Roslyn and Norman Levy Dr. Judith Lightsey-Alford and Mr. Lloyd Alford Corinne and Jesse Lipnick Dr. Salvadore and Carol Locascio Joseph and Gladys Lowry Raluca Mateescu Roger W. McDaniels Maura McDonnell-Indelicato Ken and Linda McGurn Robert and Lynne Moberly Alicia Mohr Terry and Patricia Morrow John Munson and Mary E. Munson Dorothy and Gale Nevill Dr. and Mrs. Howard D. Noble, Jr. Dr. and Mrs. Anthony Nowels William and Sandra Olinger John Paling Ed and Patricia Peddie Ed and Sandra Pettegrew Joan and Dick Promin David and Martha Rader Davis and Judy Rembert George and Twana Richard Mr. and Mrs. Thomas Ridgik Paul and Susan Robell
Bonnye and Larry Roose Howard and Glory Ann Rothman Mike and Jane Ryals Graig and Kris Shaak Diana and Jeff Shamis Joseph and Anne Shands Beverly Singer Marvin Slott Charles A. Sninsky and Kathleen L. Connery Wendell and Sandra Stainsby Ruth L. Steiner Robert Stripling George and Marilyn Tubb Benjamin and Blanca Victorica Shelley Waters Keith and Roberta Watson Mary Watt Roy and Marjorie Weiner Dr. James H. White and Dr. Lisa McElwee-White Kate and Edward Wilkinson Charles Wood and Maureen KellerWood Ashleigh Wright Thomas and Tammy Wright JoAnne and Tom Young Ron and Patti Zollars
PRODUCER | $500 and above Reem S. Abu-Rustum Alyson Adams William Anderson Sandra Arey Ralph and Carol Bowden Vida Broxson David Claussen William Conner William Elliott H. Charlotte Emerson Ronald and Dianne Farb Richard and Barbara Fearn Gordon Finlayson Chris and Tracy Giordano Doyal and Wanda Godwin Stephen and Melanie Hagen Stephanie Hanson John Hiemenz
Andrew and Sharon Hirshik Stephen and Sarah Holland Thomas and Katherine Huber Margaret James Steven Jones Keith and Sue Legg Stefanie Lord Charlene Luke Laura Lynch Mark and Cydney McGlothlin Thomas Miller James Nicholas David and Thelma Noble Larry Page Eileen Parris Susan Parrish Cynthia Preston Robert and Lorie Primosch
Kristin Roberts Mary Sanford Jen Scanlon Jane Shaw Neal Singer Halbert and Ruth Smith Stanley and Rita Smith Venita Sposetti Pat and Rick Tarrant Paula and Monte Towe R Elaine Turner Barbara Ullman Israel and Nancy Winikor Allen and Beth Wolinsky Tony and Karen Zaderej Harvey and Missy Ziegler
2019|2020 SEASON PERFORMANCE SPONSORS Blue Water Bay Dharma Endowment Foundation Drummond Community Bank EAD Corp Entercom Communications Fresco Pizza & Pasta Infinite Energy Keith Watson Events Limerock Road Neighborhood Grill Chris and Donna Maxfield Oak Hammock at the University of Florida
Russell and Brenda Robinson Scherer Construction SFI Skate Station Fun Works Sonny’s BBQ Swamp Head Brewery The Gainesville Sun The Independent Florida Alligator UF Health Warren Family Foundation Wes and Brenda Wheeler
Delicious menu selections, creative craft cocktails, and a wide selection of beer and wine. Open Monday - Saturday at 5pm No Reservations Needed. www.EmbersofFlorida.com
Thank You to
University of Florida Student Government for its commitment to providing discounted tickets to UF students for UFPA-presented events.
Blue Water Bay of Melrose, Florida
Wine Spectator’s “Best Of” Award since 2004 (852 Worldwide)
Gourmet Catering throughout the South
Weddings • Concerts • Corporate Support
352.475.1928
PEGGY AN D JAY EN JOY THE BEACH. BUT SUPPORTI NG UF PERFORMING ARTS IS TH EI R PASSION. Peggy and Jay, both 70, love their beach house. That’s why they gifted it to the University of Florida, while retaining the right to use it for the remainder of their lives. They earned a significant tax deduction from the gift. And after they’re gone, it will fund their passion at the University of Florida, forever connecting them to the performances they love. Bravo, Peggy and Jay. GIFTPLANNING.UFF.UFL.EDU | 352-392-5512
GO GREATER
D anscompany of Gainesville Resident Company of Cameron Dancenter
— 37th Anniversary —
Cinderella A holiday tradition since 1993 December 14, 2019, 1:30 & 7 p.m. Phillips Center
shows will be interpreted in american sign language
Wordmark
Reverse wordmark
S pring Concertand
The Wiz
March 14, 2020, 1:30 & 7 p.m. | Phillips Center Ticket Information — 352-371-0761 | 352-392-arts
danscompanyofgainesville.org | performingarts.ufl.edu
14 reasons to choose one of the top hospitals in the nation.
UF Health Shands Hospital is nationally ranked by U.S. News & World Report in seven specialties and high performing in seven adult procedures and conditions. This recognition reflects our unwavering dedication to providing high-quality care for patients and validates the work of physicians, scientists, nurses and staff at UF Health.
UFHealth.org