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presents

CRISTINA PATO QUARTET SATURDAY, FEBRUARY 1, 2020 | 7:30 P.M. University Auditorium

OPUS 3 ARTISTS presents

Cristina Pato QUARTET Cristina Pato, gaita, piano, and vocals Julien Labro, accordion Edward Perez, bass Mauricio Zottarelli, drums

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Works will be announced from the stage. Performance length is 90 minutes.

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Exclusive Management: Opus 3 Artists 470 Park Avenue South, Ninth Floor North New York, NY 10016 www.opus3artists.com

Cristina Pato QUARTET Cristina Pato Gaita (Galician bagpipe) Internationally acclaimed Galician bagpiper master, classical pianist, and passionate educator, Cristina Pato enjoys an active professional career devoted to cultural exchange and creating new paths for her unique instrument. Her dual careers have led to performances on major stages throughout the world, including regular tours in the U.S. and Europe, and sporadic tours in India, Jerusalem, Angola, China, Korea, Mexico, Turkey, and her native Spain. Ms. Pato serves as Learning Advisor for Silkroad (founded by Yo-Yo Ma) and is an active touring artist and composer. In 1999, Cristina Pato became the first female gaita player to release a solo album, and since then she has collaborated with world music, jazz, classical, and experimental artists (including Chicago Symphony, Yo-Yo Ma, Arturo O’Farrill, New York Philharmonic, Paquito D’Rivera, and dancers Damian Woetzel and Lil’ Buck). Ms. Pato’s unique and powerful style, full of passion and energy, has been acclaimed by The New York Times as “a virtuosic burst of energy.” The Wall Street Journal has called her “one of the living masters of the gaita.” Ms. Pato fuses the influences of Latin music, jazz, pop, and contemporary music, and uses her artistry and unprecedented virtuosic skill to bring her musical vision to life. An active recording artist and performer since age 12, Ms. Pato has released and produced six solo gaita recordings and two as a pianist. She has also collaborated on more than 40 recordings as a guest artist, including the Grammy Award winner Yo-Yo Ma and Friends: Songs of Joy and Peace (SONY BMG, 2008) and the jazz album Miles Español: New Sketches of Spain (Entertainment One Music, 2011). She is also featured in the documentary, The Music of Strangers: Yo-Yo Ma and The Silk Road Ensemble, directed by Academy Award winning director Morgan Neville. Cristina is the leader of the Cristina Pato QUARTET (U.S.), the Cristina Pato GALICIAN TRIO (Europe) and an active producer and artistic director of multidisciplinary events (including her own festival, Galician Connection). Ms. Pato has given more than 600 concerts with her own band, many of them recorded and broadcast by television stations such as RAI, BBC, TVG, CNN, and RTVE; her work has been praised by newspapers and magazines including The New York Times, El Pais, Downbeat Magazine, and The Wall Street Journal. Such an active touring and recording career has not thwarted her scholarship. Ms. Pato holds a Doctorate of Musical Arts in collaborative piano from the Mason Gross School of the Arts at Rutgers University (N.J.), where she was awarded the Edna Mason Scholarship and the Irene Alm Memorial Prize for excellence in scholarly research and performance. Ms. Pato holds degrees in piano performance, music theory, and chamber music from the Conservatorio de Musica del Liceu (Barcelona). She also holds a Master of Fine Arts degree in digital arts (computer music) from the Universitat Pompeu Fabra (Barcelona). These academic and artistic pursuits have contributed to her educational endeavors. Ms. Pato serves as learning advisor for Silkroad, collaborating closely in planning residencies and learning activities, including a multi-year partnership with Harvard University. She has served as a panelist, mentor, and faculty member in various projects Silkroad is developing with the Harvard Business School and

Photo © Xan Padron

the Harvard Graduate School of Education, including The Arts and Passion-Driven Learning summer institute for artists and educators. Her belief that the power of the arts in education benefits the ecosystem of society has led her to create her own multidisciplinary festival: Galician Connection. In 2012, Cristina wrote My Lethe Story: The River of Forgetfulness, a storytellingchamber music piece commissioned by Silkroad and premiered at Harvard University. The piece combines Cristina’s passion for neuroscience and the personal story of her mother’s memory loss. With that piece she has developed a new path towards understanding the power of combining arts and sciences in academic institutions. In 2014, she was named Mellon Visiting Artist in Residence for the 2014-2015 season at the College of Holy Cross. In 2016, she began an ongoing collaboration with University of California, Santa Barbara, with her pilot class, Memory: An Interdisciplinary Exploration, co-created and co-taught by Cristina Pato, Prof. Ken Kosik (Neuroscience), Prof. Kim Yasuda (Spatial Art), and Prof. Mary Hancock (Anthropology). In 2017, she served as the Blodgett Distinguished Artist in Residence at Harvard University (Department of Music). In 2019, Cristina was appointed the King Juan Carlos I of Spain Chair in Spanish Culture and Civilization for the 2019-2020 academic year at New York University. Cristina Pato also designs short-term residencies and lectures connected to the topics explored in her performing career. Cristina’s lecture, Transcending Disciplines: The Sustainable Artist of the 21st Century, has been presented fully or in sections at institutions like John Hopkins University, University of Santiago de Compostela, Pratt Institute in Manhattan, University of California, Santa Barbara, and Harvard University. Her records, LATINA (Sunnyside Records, 2015) and MIGRATIONS (Sunnyside Records, 2013), have been the basis of her explorations of cultural identity through the arts in U.S. academic settings. As an independent artist, she has been hired to lecture, teach, and perform by Princeton University, UCSB, UC Davis, University of Wisconsin, UNC Chapel Hill, University of Pennsylvania, and University of Texas, to name a few.

In 2014, Cristina’s groundbreaking Gaita and Orchestra Commissioning Project was awarded a grant from New Music USA to build a repertoire for gaita and symphony orchestra. Galician bagpipe concertos commissioned by Pato have been premiered with Sphinx Orchestra in Detroit, Chicago Sinfonietta in Chicago, Real Filharmonía de Galicia, Orquestra Simfònica del Vallès in Barcelona, and Chautauqua Symphony Orchestra. Cristina Pato is a member of the Artist Committee of the arts advocacy organization, Americans for the Arts. An active lecturer, writer, panelist, and public speaker, Cristina writes a popular weekly column for Spanish newspaper La Voz de Galicia titled The Art of Restlessness. Ms. Pato is a resident of New York City and is married to photographer Xan Padrón.

Julien Labro Accordion Heralded as “the next accordion star” by Howard Reich of the Chicago Tribune, French-born Julien Labro has established himself as one of the foremost accordion and bandoneón players in the classical and jazz genres. Deemed “a triple threat: brilliant technician, poetic melodist, and cunning arranger,” his artistry, virtuosity, and creativity as a musician, composer, and arranger have earned him international acclaim and continue to astonish audiences worldwide. His latest recordings, From this Point Forward (2014), Infusion (2016), and Rise and Grind (2017), all feature original compositions and arrangements by Labro, and have been lauded by critics as innovative and genre-bending. Labro has released more than ten albums under projects that he has led, and he has guested on recordings for artists such as Cassandra Wilson, Frank Vignola, and more. Labro’s musical journey has taken him across North America, Europe, the Middle East, and South America. His long list of classical collaborations include Jason Vieaux, A Far Cry, Spektral Quartet, Detroit Symphony Orchestra, Orchestra of St Luke’s, the Qatar Philharmonic Orchestra, Pulitzer Prize winning composer Du Yun, and many more. Labro’s jazz projects include the Julien Labro Quartet, Hot Club of Detroit, and collaborations with Grammy Award winning composer Maria Schneider, Brazilian pianist João Donato, Argentinian Grammy Award winning composer and pianist Fernando Otero, clarinetist Anat Cohen, Lebanese oud master Marcel Khalife, saxophonists Paquito D’Rivera, Miguel Zenón, James Carter, and Jon Irabagon, and guitarists Larry Coryell, Tommy Emmanuel, and John and Bucky Pizzarelli.

Edward Perez Double bass Equally at home in jazz, Latin-jazz, and South American music, bassist Edward Perez has delighted audiences at the Lincoln Center, The Kennedy Center, The Blue Note, and a host of theaters throughout the world alongside such greats as Lee Konitz, Paquito D’Rivera, Kenny Werner, and Ignacio Berroa. He has recorded with jazz luminaries Seamus Blake, Mark Turner, and Lionel Loueke, and he appears on Hector Martignon’s Grammy-nominated Second Chance. He has enjoyed stints with celebrated singers Eva Ayllón (Peru) and Lucia Pulido (Colombia), and recent projects include arranging and directing the album Afrodélico, by Latin Grammy nominee, Jorge Pardo.

Mauricio Zottarelli Drums The Brazilian-born and New York City–based drummer and composer Mauricio Zottarelli has been on the forefront of the Jazz, Latin, and Brazilian music circles for many years. Called a “superb drummer” by JazzTimes Magazine, Zottarelli has become one of the most sought-after drummers on the scene since his move to NYC in 2006. A Berklee College of Music graduate, Mauricio is a critically acclaimed and award-winning artist. He has worked with many important and notable artists of today, crossing over many musical styles: Hiromi, Eliane Elias, Prasanna, Lee Ritenour, Dave Grusin, Esperanza Spalding, Keiko Matsui, Richard Bona, Paquito D’Rivera, Claudio Roditi, Joe Locke, Geoffrey Keezer, Mike Pope, Eldar, Ivan Lins, Carmen Souza, Rosa Passos, Dom Salvador, Jovino Santos Neto, Oriente Lopez, Gustavo Assis Brasil, Hendrik Meurkens, and many others. In 2012, he won the most important music award in Brazil, the Brazilian Music Awards, with legendary pianist Dom Salvador. Mauricio has four albums out as a leader/co-leader: Dig Trio (2003); 7 Lives (2009); MOZIK (2011); Glasses, No Glasses (2014); all highly praised by critics and fans worldwide. Mauricio is equally active as a teacher and educator, and he has performed clinics and workshops in Brazil, the U.S., and Europe. He is also a columnist for Modern Drummer Magazine in Brazil.

presents

INVERTIGO DANCE THEATRE FORMULAE & FAIRY TALES

WEDNESDAY, FEBRUARY 5, 2020 | 7:30 P.M. Curtis M. Phillips Center for the Performing Arts

FORMULAE & FAIRY TALES Created and directed by Laura Karlin Performed by Cody Brunelle-Potter, Hyosun Choi, Jessica Dunn, Spencer Jensen, Corina Kinnear, Dominique McDougal, Luke Dakota Zender Choreographed by Laura Karlin, Cody Brunelle-Potter, Hyosun Choi, William Clayton, Jessica Dunn, Adrian Hoffman, Isaac Huerta, Spencer Jensen, Corina Kinnear, Dominique McDougal, Shane Raiford, Luke Dakota Zender Original Music composed by Toby Karlin, Julia Kent, Eric Mason Additional Music by Afriara Quartet, A Winged Victory for the Sullen, by arrangement with G. Schirmer, Inc. publisher and copyright owner, Nebulo Lighting Design: R.S. Buck Technical Director and Sound Engineer: Veronica Mullins Costume Design: Rosalida Medina Scenic and Video Design: NightLight Labs Stage Manager: Jessica MoneĂ Evans Production Manager: Rebecca Baillie Stumme Rehearsal Director: Mallory Fabian

Invertigo Staff Artistic Director and Founder: Laura Karlin Interim Artistic Director: Rachel Whiting Executive Director: David Mack Touring Director: Leslie Scott Operations Manager: Michael Rebong Community Engagement Manager: K. Bradford Show Publicity: Ravenscroft Public Relations Publicist: Allison Van Etten Marketing Associate: Kelsey Ang Operations Associate: Olivia Das Development Manager: Traci Takahara Slacum

Formulae & Fairy Tales Formulae & Fairy Tales is based on the life and work of Alan Turing and his connection to the Snow White fairy tale. Turing was a cryptographer and mathematician. He is considered to be the father of computer science and artificial intelligence. During WWII, he was instrumental in cracking the Nazi’s “unbreakable” Enigma Code. After the war, his work was classified and he went unrecognised as a national hero. In 1952, he was arrested for “acts of gross indecency.” According to the Labouchere Amendment of 1885, homosexuality was illegal. The nation he had helped to save convicted him, and in lieu of jail time, he submitted to chemical castration. In 1954, he died by eating an apple laced with cyanide. Turing was known as an affable man to his friends, with a whimsical sense of humor. His extraordinary mind ranged from the cryptanalytical cracking of codes and how the golden spiral/Fibonacci sequence played out in plant structures to whether we could give machines the power of rational thought. His favourite film was Disney’s first Technicolor fairy tale, Snow White and the Seven Dwarfs. In our telling of the stories, the apple becomes a symbol of the forbidden. Love, sexuality, knowledge—they all unfold as an apple, a code, a cypher. This show is many things. It is a love letter to a great mind. It is a playground and a memory and a machine. It is a rejection of tragedy in favor of hope, redemption, and an implacable desire that our world be better for the people living in it. It is all of these things to me. It might be none of them to you. It might be many other things. Whatever you see, interpret, feel… you’re right. Come on in. We’ve been waiting for you. This show is dedicated to Alan Turing. To the dreamers and schemers. To the minds continually questioning and unfurling. To everyone whose very existence is resistance. To the rebels and to the unwieldy personalities who are ahead of their times. — Laura Karlin, Artistic Director

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Formulae & Fairy Tales was made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation. This performance is supported, in part, by the Los Angeles County Board of Supervisors through the Los Angeles County Department of Arts and Culture.

About Invertigo Dance Theatre Founded in 2007 by Artistic Director Laura Karlin, Invertigo Dance Theatre has become one of the fastest growing dance companies in Los Angeles, committed to making a lasting impact on the cultural landscape of the city. Invertigo’s programming is rooted in storytelling through movement and promoting artistic and physical empowerment among its participants. The company contributes to the Los Angeles dance ecology by paying fair wages to all artists and staff, and developing artistically excellent programming in partnership with communities that might not otherwise have access to engage in the joy of dance. Invertigo’s mission is pursued through the following three areas of programming: dynamic performances, the Invert/ED education program, and Dancing Through Parkinson’s classes. Invertigo has performed original works across Los Angeles in partnership with The Music Center, the Ford Theatres, Grand Park, and the Broad Stage. The company has performed more than 45 original choreographic works, won the prestigious Grand Prize in the 2016 McCallum Theater Choreography Festival, and in 2018 received the National Dance Project Production Award, one of the highest national honors in dance, for Formulae & Fairy Tales. The show will begin its national tour in 2020. invertigodance.org | @invertigodance

About the Artistic Director and Dancers Laura Karlin (Artistic Director) is a teacher, choreographer, and movement activist. She founded Invertigo Dance Theatre in 2007 with the aim of contributing a vibrant dance institution to the Los Angeles arts scene. She collaborates with her performers to create virtuosic interdisciplinary dance theatre works. She has created more than 40 pieces for the company. Her work is supported by Bloomberg Philanthropies, the California Arts Council, LA County Arts Commission, and the New England Foundation for the Arts. Laura’s choreographic style combines whimsy with intense physicality, telling stories from multiple nuanced perspectives and inviting audiences to experience a wide range of dynamics and emotional contexts. Laura graduated from Cornell University with a dual degree in Choreography/ Production and Pre-Law/LGBTQ Civil Rights. She studied dance theatre and contemporary dance in London. As an independent choreographer, Laura has been commissioned by the LA Contemporary Dance Company, Celebrate Dance, and the Southern California Dance Invitational. She has taught and been a guest artist at Loyola Marymount University, Santa Monica College, Pierce College, La Companyia in Barcelona, and

University of California, Santa Barbara. Additionally, she has established ongoing partnerships with other non-profit arts organizations in Los Angeles, including choreographing for and performing alongside the Independent Shakespeare Company for 10 summers. She was the Grand Prize Winner of the McCallum Choreography Festival in 2016. Laura approaches dance as a way to establish communication and trust among her dancers, students, and audiences, bringing together groups diverse in age, ability, access, and background through the joy of movement. Her social justice engagement is infused in her life. When she isnâ&#x20AC;&#x2122;t in the Invertigo office or rehearsal room, Laura can be found teaching Invert/ED and Dancing Through Parkinsonâ&#x20AC;&#x2122;s classes, practicing sustainable gardening in her home, or camping and traveling.

About the Performers Cody Brunelle-Potter is a Los Angeles-based dance artist. They have been dancing with Invertigo Dance Theatre since the beginning of the Formulae & Fairy Tales process. Cody can also be seen performing for Rosanna Gamson World Wide, Iris Company, Acts of Matter, as well as freelance jobs in the Los Angeles area. They also have a background in theater and are really interested in the space where virtuosity and subtlety meet when they are performing.

Hyosun Choi currently dances with Invertigo Dance Theatre, LACDC, and Iris Company. She is a certified trainer in the Gyrotonic and Gyrokinesis Methods; works as a corporate trainer at Bank of Hope; is admitted to the State Bar in California and N.Y.; plays cello, piano, and guitar; composes music; and reads. Books. Now and then, she sleeps. She is very happy.

Jessica Dunn started dancing at 9 years old in her tiny town of Tehachapi. She danced with a local ballet company before leaving to attend California State University, Long Beach’s BFA Dance program. She continues to dance and perform in Los Angeles. When she has free time she likes to draw, stretch, and tries to pet stray cats.

Spencer Jensen is a southern California native. He received his BFA in Dance at California State University, Long Beach, and has continued to perform as a freelance dancer in both Los Angeles and Orange County. Spencer received his formal dance education from Keith Johnson, Rebecca Lemme, Lorin Johnson, Summer Brown, Rebecca Bryant, and Alicia Head. His credits include performing as a dancer in William Shakespeare’s The Tempest (directed by Barry Edelstein, choreographed by Patrick McCollum, and performed with the Los Angeles Philharmonic at Walt Disney Concert Hall), as well as FLEX (presented by L.A. Dance Project’s MAKING:LA Residency Program choreographed by Jay Carlon), and Keith Johnson and Dancers’ 20th Anniversary Show. Spencer is a member of Dance Discovery Foundation, a non-profit charitable arts organization where he assists in programs providing young students more accessible ways to participate in dance and the performing arts. This is Spencer’s first season with Invertigo and he is very excited to make his debut at The Broad Stage.

Corina Kinnear started her training at her mother’s studio, Parker Dance Academy, and then at International Ballet School. She continued in San Francisco, where she received her Bachelor of Fine Arts with Alonzo King’s LINES Ballet and Dominican University, as well as her certification as a Gyrotonic® instructor. Since, she has danced and toured as a performing artist and choreographer with companies

in Los Angeles, New York, Montreal, Colorado, San Francisco, and throughout Europe, including Invertigo Dance Theatre, the Deutsche Oper Ballet, LA Opera, MiMoDa, Gibson Muriva Dance Company, Deutsche Fernsehballet, The Movement Movement, Apex Contemporary Dance Theatre, Arrogant Elbow, and has created work in residencies at PARTS in Brussels, the CND in Paris, TanzFabrik in Berlin, and for the Oydessy Theatre Dance Festival.

Dominique McDougal, a native of Lakeland, Florida, started his education in theater at the age of 9. He later went on to train in classical ballet at Florida Dance Theatre, becoming a trainee with their professional company his senior year in high school. Upon graduating, he moved to Philadelphia and joined Smoke, Lilies & Jade under Zane Booker. Dominique then furthered his education in movement through the Alonzo King LINES Ballet training program. Throughout his dance education and professional experience, Dominique has collaborated with artists such as Earl Mosley, Brigette Dunn-Korpela, Ferdinand DeJesus, Carol Krajacic-Erkes, Lennie Meek re-staging Lar Lubovich Concerto 622, Norbert De La Cruz III, James Sewell, Amanda Miller, Gregory Dawson, Alonzo King, Maurya Kerr, Sidra Bell, Renee Redding Jones, Kevin Wynn, Caron Eule, and many more. This is Dominiqueâ&#x20AC;&#x2122;s second season with Invertigo Dance Theatre!

Luke Dakota Zender started dancing in Los Angeles at the age of 17. Since then, Luke has self-curated an eclectic dance education, giving him a versatile understanding of what it means to be a mover, performer, and an overall aware human being. Luke has studied with Debbie Allen, Peridance Capezio Center, Bill T. Jones, David Dorfman, Northwest Dance Project, BODYTRAFFIC, Hubbard Street, and, most recently, Anouk Van Dijk. After spending four years in the mountains and solitude of his hometown in Wyoming in an effort to find a deeper understanding of himself and the world in which he chooses to live, Luke has relocated back to the City of Angels where it all started. Back in Wyoming, Luke danced for Contemporary Dance Wyoming under the direction of Babs Case for four years. While with CDW, Luke had the opportunity to perform in works by Babs Case, Francesca Romo, Gina Patterson, David Dorfman, Troy Ogilvie, Dan Walczak, Alysa Pires, and Alice Klock. Since his return to Los Angeles, Luke has worked with Heidi Duckler Dance, Brockus RED, and presented his own choreographic work. Luke is beyond grateful for the opportunity to share and bring Lauraâ&#x20AC;&#x2122;s vision for Formulae & Fairy Tales to fruition.

presents

JONATHAN SWENSEN Cello

NOREEN CASSIDYPOLERA Piano FRIDAY, FEBRUARY 7, 2020 | 7:30 P.M. Squitieri Studio Theatre

Jonathan Swensen Cello

Noreen Cassidy-Polera Piano

———————— Program 12 Variations on Ein Mädchen oder Ludwig van Beethoven Weibchen from Mozart’s Die Zauberflöte, Op. 66 Theme. Allegretto Variation 1 Variation 2 Variation 3 Variation 4 Variation 5 Variation 6 Variation 7 Variation 8 Variation 9 Variation 10. Adagio Variation 11. Poco adagio quasi andante Variation 12. Allegro

Sonata for Solo Cello, Op. 8

Zoltán Kodály

Allegro maestoso ma appassionato Adagio (con grand’ espressione) Allegro molto vivace

———————— INTERMISSION Sonata for Cello and Piano in A major Allegretto ben moderato Allegro molto Recitativo-Fantasia: Ben moderato Allegretto poco mosso

Noreen Cassidy-Polera, piano

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Cesar Franck

Program Notes 12 Variations on Ein Mädchen oder weibchen from Mozart’s Die Zauberflöte, Op. 66 Ludwig van Beethoven Born December 16, 1770, in Bonn; died March 26, 1827, in Vienna Composers first used variation technique as a way of adding interest to repetitions of melody in the 16th century, when they began to write extended instrumental solo pieces. Using this technique, they introduced a theme and followed it by a series of variations, each with the same or very similar structure. Haydn, Mozart, and Beethoven all wrote variation-movements in their extended works but composed few separate independent sets of variations. The independent sets they did write were more likely to be either light, entertaining compositions for amateurs or brilliant display pieces for virtuoso performers. Mozart’s opera Die Zauberflöte (The Magic Flute) premiered in 1791 and instantly became very popular. In 1796, Beethoven composed and published a set of variations for cello and piano on a popular tune from the opera, Ein Mädchen oder weibchen. Emanuel Schikaneder—the producer, librettist, and original cast member—was also an enthusiastic promoter. The idea to choose Die Zauberflöte as the source of his theme may have been Beethoven’s own, but it was also likely to have been inspired by Schikaneder’s intense and somewhat misleading publicity campaign, in which he claimed that Die Zauberflöte had had many more performances than had ever actually taken place. Beethoven composed his set of cello variations for Jean-Louis Duport, the principal cellist at the Prussian court in Berlin. Published in Vienna in 1798, the Variations take Papageno’s melody and transform it into music that is much more characteristic of Beethoven than Mozart. Perhaps due to its success, in the same year as he introduced the Ein Mädchen oder weibchen variations, Beethoven composed a set of variations for the same pair of instruments on “See the conqu’ring hero comes” from Handel’s Judas Maccabaeus, and five years later, in 1801, he composed his setting of Seven Variations in E flat Major on Bei Männern welche Liebe fühlen, also from Mozart’s The Magic Flute. Having chosen a duet for his theme gives Beethoven the freedom to give each of the individual players the opportunity to define and develop the basic thematic material. The first variation is written for solo piano; for the second, the cello joins in for a full contrapuntal treatment. In the third variation, the cello leaves the figuration to the piano while stasis characterizes its own part. Beethoven varies his treatment without key contrast in the following variations, but most notable are the last three. In the tenth and eleventh variations, he ventures into the minor tonality for the first time. The tenth is also the most protracted variation, almost a quarter of the length of the whole work. The eleventh foreshadows the Romantic styles of Mendelssohn and Schubert, and the last variation has the character of a fantasia. Overall, the variations go from the grandiose to the rhythmically charged, and even to the capricious, and vary widely in tempo from the initial slow Adagio to the final speedy Rondo, Allegro.

Sonata for Cello, Op. 8 Zoltán Kodály Born December 16, 1882, in Kecskemét; died March 6, 1967, in Budapest Zoltán Kodály began to study music with violin and piano lessons in early childhood; by the time he was 16, he had composed a Mass for his church and an overture for his school orchestra. In his teens, he took up the cello because the amateur string quartet in which his father played the violin needed a cellist. When he enrolled at the university in Budapest, he studied composition at the Academy of Music, and eventually his search for an authentic Hungarian musical style, a Magyar style different from that of the Gypsies, led him out into the countryside, where Béla Bartók soon joined him in recording the folk music of the peasants. Bartók and Kodály’s ethnomusicological studies gave a new power to the works of the two young composers. Three of Kodály’s best early works involve the cello: a Sonata with piano, Op. 4 (1910), this unaccompanied Sonata, Op. 8 (1915), and a Duo for Violin and Cello, Op. 7 (1914). The Sonata, Op. 8 is a formidable work, a virtuoso piece of the greatest technical difficulty for the player, though its boldness of expression is ultimately derived from straightforward folk melodies and rhythms. In the 200 years between Bach’s Suites for Unaccompanied Cello and Kodály’s Sonata, no one seems to have made a serious attempt at working in this medium. The German composer Max Reger composed three Suites in the same year, 1915. Reger was then known as “the second Bach,” but now the suites have all but completely disappeared while every fine cellist plays or at least knows the Kodály. The three movements of the Sonata, all based on closely related themes, are in the classical fast-slow-fast sequence, although they are entirely novel in form. The first, Allegro maestoso ma appassionato, is a most dramatic combination of the majestic and the passionate. The second, Adagio (con grand’ espressione), concentrates its great expressivity in the single melodic line. The third, Allegro molto vivace, is a splendid show piece. Kodály requires the cellist to change the standard tuning of two of the instrument’s strings in order to bring them closer to the key of B minor.

Sonata for Cello and Piano in A major César Franck Born December 10, 1822, in Liège; died November 8, 1890, in Paris César Franck was a child prodigy pianist whose father wished him to be a famous virtuoso. Although as a child he gave many concerts in Belgium, his father’s dream was never fulfilled. By 1835, Franck went to Paris to find teachers and entered the Paris Conservatory, where he won numerous prizes. As a professor of organ at the Conservatory, he became a mentor for a new generation of French composers: his emphasis on organ music, based on Bach’s counterpoint, led young French musicians toward absolute music. Only late in life did Franck discover his talent for composition and wrote music with clear contrapuntal structure and fullness of harmony. Oral accounts contend that Franck conceived this sonata originally as a cello sonata, only changing his mind when he decided to present the work to his great friend and ‘ideal interpreter,’ the violinist Eugène Ÿsaÿe (1858-1931), who first

performed it at his wedding on September 26, 1886 and then officially premiered it on December 16, 1886, in Brussels. The sonata’s second edition, published during Franck’s lifetime, describes the work as written for either violin or cello. We can thus conclude cello sonata was never an arrangement of the violin sonata but rather an alternate version of the same work. The composer Vincent d’Indy, Franck’s pupil and biographer, reported that the premiere occurred at the end of an afternoon concert in the Brussels Museum of Modern Painting, where artificial illumination was forbidden. When the first movement was over, the room had become so dark that the performers could no longer read their music, yet the audience refused to leave. Ÿsaÿe rapped his violin bow against the music stand and shouted out, “Let’s go!” He and the pianist, Léontine-Marie Bordes-Pène, continued on, playing the remaining three movements of this new, difficult work from memory, totally in the dark. The composer D’Indy wrote that their performance was one of fire and passion, an unforgettable miracle, in which music, wondrous and alone, controlled the night. Ÿsaÿe’s performance in both Europe and America of Franck’s Sonata established the work’s permanent place in the concert repertoire. The Sonata is now one of Franck’s most frequently performed works. It displays the principal characteristics of his late style: the instability that comes from constantly shifting harmonies; the stabilizing counter-force of many closely interrelated melodic themes; and cell-like fragments of melody that recur throughout the work, unifying the movements and giving it coherence. Franck called the latter “cyclic” development: themes from one movement are transformed, shared, and used over subsequent movements as a method of achieving unity. The first movement, Allegretto ben moderato, serves as poetic prelude to the rest of the work; it is harmonious and introspective and has a slower tempo than usual for first movements of sonatas. The music opens quietly, sounding rather hesitant at first, with the piano’s fragmented chords that intimate a theme, which the soloist shapes as s/he enters into what becomes the main motivic material of the whole sonata. The piano introduces the more spirited second subject. The music builds to a strong climax, and then the two gently and sweetly recapitulate the opening. The music builds again to a second climax, after which the movement ends with a short, almost tender sounding codetta. The second movement—a fiery Allegro molto, a more fully developed sonata form structure—begins with a turbulent rumbling in the piano and a torrent of chromatics flowing upwards, building and releasing tension as the theme descends again. The main theme is recognizable from its syncopation. There is a quasi lento (slow) section, and in the central development section, some identifiable fragments of the movement’s main lyrical thematic ideas. A recapitulation follows, and a coda, beginning mysteriously and becoming progressively more tumultuous, carries the movement to its end. The third movement, Recitativo – Fantasia: Ben Moderato, has two parts beginning with a recitative that introduces a free fantasy; the fantasy is improvisatory sounding. In it, musical ideas previously used reappear, in addition to new themes that will be taken up later. The piano begins this very original movement, with the unaccompanied violin answering it in an improvisatory way. Later, two determined themes, both accompanied by rhythmic triplets, are introduced (the first of them will reappear in the last movement). The movement closes somberly but powerfully.

The last movement, Allegretto poco mosso, begins joyously introducing a majestic rondo whose recurring principal subject is presented in a stately canonic imitation at the octave with the two voices a measure apart. Music historian Arthur Cohn called it “one of the most beautiful canons in all of music.” The theme of the canon is somewhat distantly related to the opening theme of the sonata, although that is not necessarily apparent to the listener. In the magnificent canon, the cello imitates the piano in passages that call for astounding technical skill. Within the movement, two themes from the third movement as well as a secondary motive from the first movement are recalled in a careful cyclical structuring of the themes. The opening canonic theme comes back at the movement’s conclusion to round out the structure as the sonata ends triumphantly. — Program notes are copyright © Susan Halpern, 2020

Jonathan Swensen Cellist Jonathan Swensen has captured First Prizes at the 2018 Young Concert Artists International Auditions, 2018 Khachaturian International Cello Competition, and 2019 Windsor International String Competition. In his native Denmark, he was recipient of the Jacob Gades Scholarship in 2019, the Léonie Sonning Talent Prize in 2017, and the First Prize at the 2016 Danish String Competition. Mr. Swensen made his concerto debut in 2017, performing the Elgar Cello Concerto with Portugal’s Orquestra Sinfónica do Porto Casa da Música. Since then, he has appeared with orchestras including the Orquesta Ciudad de Granada, the Venice State Symphony Photo by Matt Dine Orchestra, Denmark’s Aarhus Symphony Orchestra, and Poland’s NFM Leopoldinum Orchestra. He is also a frequent performer at festivals in Denmark, including the Schubertiaden, the Copenhagen Summer Festival, and the Hindsgavl Summer Festival. During the 2019-20 season, Mr. Swensen debuts with the Copenhagen Philharmonic, Phiharmonia Orchestra at Windsor Castle, and Sun Symphony Orchestra in Vietnam, and a reengagement with Denmark’s Aarhus Symphony Orchestra. Recital and chamber music appearances include a return to Armenia to take part in the Khachaturian Festival in Yerevan, the Usedomer Musikfestival in Germany, the Tivoli Festival in Copenhagen, and his South Korean debut at the Seoul ArtsCentre. In the United States this season, the Young Concert Artists Series presents Mr. Swensen’s recital debuts in New York on the Michaels Award Concert at Merkin Concert Hall, and in Washington, D.C., on the Alexander Kasza-Kasser Concert at the Kennedy Center’s Terrace Theater. He also appears at the Buffalo Chamber Music Society, Levine School of Music, Port Washington (NY) Library, and the University of Florida.

A graduate of the Royal Danish Academy of Music, Jonathan Swensen currently studies with Professor Torleif Thedéen at the Norwegian Academy of Music in Oslo.

Noreen Cassidy-Polera Pianist The pianist Noreen Cassidy-Polera ranks among the most highly-regarded chamber artists of today. Recent performances include appearances at the Caramoor, Bard, Grand Teton, and Cape Cod Chamber Music Festivals, as well as engagements at the Chamber Music Societies of Philadelphia and La Jolla. She has recorded for Sony, EMI, Audiophon, and Centaur Records. Noreen Cassidy-Polera has collaborated with leading soloists including cellists Narek Hakhnazaryan, Matt Haimovitz, Carter Brey, Antonio Menesis, and Yo-Yo Ma, and she has won the Accompanying Prize at the International Tchaikovsky Competition in Moscow. Ms. Cassidy-Polera’s mastery of the complete cello-piano repertory is widelyknown, as is her dedication to performing the works of living composers. In recent seasons, she has performed Elliott Carter’s Sonata for Cello and Piano on tour in Paris, New York, and Philadelphia, along with new works by Lowell Liebermann, Benjamin C.S. Boyle, and Kenji Bunch to critical acclaim. Her CD, Sound Vessels (with cellist Scott Kluksdahl), features works by Richard Wesnick, Robert Helps, Augusta Read Thomas, and Elliott Carter. Noreen Cassidy-Polera holds Bachelor of Music and Master of Music degrees from The Juilliard School, where she studied with Martin Canin.

presents

MUMMENSCHANZ you & me

SUNDAY, FEBRUARY 9, 2020 | 2:00 P.M. Curtis M. Phillips Center for the Performing Arts

MUMMENSCHANZ you & me Floriana Frassetto (Swiss) studied at Academia A. Fersen in Rome from 1967 to 1968. She completed her training as an actress attending a school in mime and acrobatics at Roy Bosier’s Teatro Studio. She then worked with the company of Roy Bosier in several school productions that toured Italy. The idea of founding MUMMENSCHANZ resulted from meeting, in late 1971, Andres Bossard and Bernie Schürch— two young Swiss clowns called Before and Lost who performed a partially spoken show. Floriana became the third member of the new company, and together they co-created the repertoire of MUMMENSCHANZ, converting the spoken numbers to masked visuals. Floriana has performed on tour worldwide for the last 45 years. She feels herself an artisan of fantasy and has always been motivated to construct new shapes along with Bernie. Since Bernie’s departure in 2012, she has been tormented by the challenge of creating a new show, which she has now done with plenty of new ideas. That has been possible thanks to the collaboration with Tina Kronis and Richard Alger. She is very happy with her fellow performers and is looking forward to the coming tours together. Among other experiences were the choreography and costumes for Giancarlo Sbragia’s Faust and André Heller’s musical, Body and Soul, and an artistic collaboration with Isabelle Baudet for the children’s musical, Oliver Twist, in Lausanne (Switzerland). She is the artistic director of MUMMENSCHANZ.

Sara Francesca Hermann (Swiss) was born in 1985 in Samedan and grew up trilingual with Romanesque, German, and Italian. She is a trained primary school teacher. Afterwards she completed a three year course at Comart, a school of physical theatre in Zurich. She won the 2009-10 physical theatre studentship award from Migros Kulturprozent. Since 2010, she has worked as a freelance theatre artist in various productions. She is a co-founder of Paula fliegt and has had several engagements in theatre and music projects in Switzerland and abroad. In May 2015, Sara became a member of the MUMMENSCHANZ company.

Oliver Pfulg (Swiss) was born in 1985 and grew up in Hombrechtikon. After his initial education as a draftsman, he attended Comart, the physical theatre school in Zurich, for three years and he graduated in 2010. Since

then, he has had different engagements (including a. o Opera House Zurich, flowingdancecompany, and MärliMusicalTheater). Oliver is also a founding member of the street theatre group Paula fliegt. In 2015, he created, together with Lena Wälly, an original play, apropos. Since May 2015, Oliver has been a member of the MUMMENSCHANZ company.

Christa Barrett (Swiss) was born in Fribourg in 1990. At the age of 17, she joined the Zirkus Chnopf and the Cirque de Loin for three years. Following this, she entered the Accademia Teatro Dimitri in Verscio. During her studies, she twice won the physical theatre studentship award from Migros Kulturprozent. In 2014, she received her bachelor’s degree in physical theatre. Since then, Christa has worked with different theatre companies including: Poyo Furioso, directed by Hermes Gaido; Fiorenza Ensemble, directed by Eveline Ratering; and Commedia Origen Festival, directed by Fabrizio Pestilli. Since summer 2016, Christa has been a member of the MUMMENSCHANZ company.

Kevin Blaser (Swiss) was born in 1990, and is a young artist from Ticino. At an early age, he showed a strong interest in movement and art. He stood out in gymnastics and skateboarding, in which he found a companion with whom he travels the world. Passionate about music, he perfected his skills in percussion and drums, and continues to play in various bands. Through theatre, he discovered a means for fully expressing himself and entered the school for physical theatre, Accademia Teatro Dimitri, where he obtained his bachelor’s degree in 2015. He has played in different theatrical and cinematic productions such as Gilgamesh (by Patrizia Barbiuiani), Gotthard 2016 (by Volker Hesse), and Tutti Giù (from Niccolò Castelli). In July 2016, he started his journey with the MUMMENSCHANZ company.

Eric Sauge (Swiss) is the technical director of the company. With nearly 10 years of experience in the entertainment business, he now specializes in lighting and mechanical effects. Employment by large organizations provided him with world-wide travel. Through experience and many trips abroad, he has acquired solid knowledge in technical and team management. When in Switzerland, he continued to train in the field of lighting for theater and television, in which he has primarily performed the roles of console operator and project manager. In 2014, he met MUMMENSCHANZ in Lausanne, and wishing to return to the theatre scene, he joined them as their technical director.

presents

TREY McLAUGHLIN & THE SOUNDS OF ZAMAR

SATURDAY, FEBRUARY 15, 2020 | 7:30 P.M. Curtis M. Phillips Center for the Performing Arts

Sponsored by

UF HEALTH

OPUS 3 ARTISTS presents

The Knights Eric Jacobsen, Conductor Gil Shaham, Violin

———————— Program Kreutzings

Colin Jacobsen

Violin Sonata No. 9, Kreutzer Sonata

Ludwig van Beethoven

Arranged by Colin Jacobsen Featuring Gil Shaham, violin

———————— INTERMISSION String Quartet No. 1, Kreutzer Sonata

Leoš Janácek

Original concept and arrangement by Eric Jacobsen Orchestration by Michael P. Atkinson

Hungarian Dances

Johannes Brahms

No. 1, arranged by Paul Brantley No. 19, arranged by Paul Brantley No. 5, arranged by Eric Jacobsen

———————— Exclusive Tour Management: Opus 3 Artists 470 Park Avenue South, 9th Floor North New York, NY 10016 www.opus3artists.com

Introductory Program Note What exactly is it? I don’t understand. What is music? What does it do? And why does it do what it does?” (Leo Tolstoy, responding to Beethoven’s Kreutzer Sonata) What is it about Beethoven’s Kreutzer Sonata that has made this work so endlessly influential and inspiring? Written at the beginning of the 19th century, the massive violin sonata inspired a novella by Russian novelist Leo Tolstoy about jealousy, obsession, lust, and insanity. The novella in turn inspired Czech composer Leoš Janácek to write his romantic and manic tone-poem of a string quartet. Through our Kreutzer Project, we explore the obsessive, emotiona, and intellectual worlds probed by both Beethoven and Janácek. New arrangements by members of The Knights reimagine these masterpieces for chamber orchestra and bring the groundbreaking identity of these works into the 21st century. The full title of Beethoven’s sonata includes an inscription “...quasi come d’un concerto”—“…like a concerto.” This gave us the inspiration to go further in that direction, in a new arrangement by Colin Jacobsen of the piece for solo violin and orchestra that fleshes out the concerto-like qualities of this piece, while retaining the intimate interplay between parts characteristic of chamber music. Janácek’s String Quartet No. 1, titled Kreutzer Sonata, has also been expanded to a chamber orchestra version by Michael Atkinson and Eric Jacobsen. While the original string quartet is rich in color and texture already, the new arrangement allows listeners the opportunity to experience Janacek’s vivid fantasy world in the expanded color palette of winds, brass, and percussion, in addition to the original string writing. Our relationship with the incomparable violinist Gil Shaham has taken us on some wonderful journeys together, including a Grammy-nominated recording of Prokofiev’s Concerto. We’re so grateful he’s joining us here for the Kreutzer Project, which was conceived in celebration of the 250th anniversary of Beethoven’s birth year. Another way we are honoring the master’s legacy is through a recording we made together last summer of both Beethoven and Brahms Violin Concerti. Gil makes a compelling case with new insights of how intimately the Brahms Concerto is linked in spirit to the Beethoven and so full of loving tribute. We look forward to sharing that album with you in the coming months, but, in the meantime, thanks for being here and supporting the very living tradition for which Beethoven so brightly lit the way.

The Knights THE KNIGHTS are a Grammy-nominated collection of adventurous musicians, dedicated to transforming the orchestral experience and eliminating barriers between audiences and music. Having performed and recorded with such renowned soloists as Yo-Yo Ma, Dawn Upshaw, Béla Fleck, and Gil Shaham, and having appeared in venues including Vienna’s Musikverein and New York’s Carnegie Hall, recent highlights include a thrilling performance as part of the opening season of the new Hamburg Elbphilharmonie and an appearance as the first American orchestra-in-residence at the Festival du Paques in Aix-en-Provence, performing multiple concerts throughout the city, including programs with pianist Jean-Yves Thibaudet and violinist Renaud Capucon. The Knights recently presented a fully staged version of Leonard Bernstein’s Candide in honor of his

Photo by Shervin Lainez

100th birthday at both the Tanglewood Music Festival and the Ravinia Festival, and premiered The Head and the Load with international artist William Kentridge at London’s Tate Modern and New York’s Park Avenue Armory. The Knights evolved out of friendly late-night chamber music sessions at the home of violinist Colin Jacobsen and cellist Eric Jacobsen. Since the orchestra’s incorporation in 2007, the brothers have served as its artistic directors. Conductor and cellist Eric Jacobsen has built a reputation for engaging audiences with innovative and collaborative projects. As conductor of The Knights, Jacobsen has led the “consistently inventive, infectiously engaged indie ensemble” (The New York Times) at New York venues ranging from Carnegie Hall to Central Park, and at such renowned international halls as the Vienna Musikverein, Cologne Philharmonie, and Hamburg Elbphilharmonie. Now in his fourth season as music director of the Orlando Philharmonic, Jacobsen is also much in demand as a guest conductor and has recently led the Camerata Bern, Detroit Symphony, Alabama Symphony, ProMusica Chamber Orchestra, Deutsche Philharmonie Merck, and YoYo Ma’s Silkroad Ensemble. Violinist and composer Colin Jacobsen is “one of the most interesting figures on the classical music scene” (The Washington Post). An eclectic composer who draws on a range of influences, he was named one of the top 100 composers under 40 by NPR listeners. He is also active as an Avery Fisher Career Grant-winning soloist and a touring member of Yo-Yo Ma’s famed Silk Road Ensemble. For his work as a founding member of two game-changing, audience-expanding ensembles—the string quartet Brooklyn Rider and orchestra The Knights—Jacobsen was selected from among the nation’s top visual, performing, media, and literary artists to receive a prestigious and substantial United States Artists Fellowship.

Gil Shaham Gil Shaham is one of the foremost violinists of our time; his flawless technique combined with his inimitable warmth and generosity of spirit has solidified his renown as an American master. The Grammy Awardwinner, also named Musical America’s Instrumentalist of the Year, is sought after throughout the world for concerto appearances with leading orchestras and conductors, and regularly gives recitals and appears with ensembles on the world’s great concert stages and at the most prestigious festivals. Highlights of recent years include the acclaimed recording and performances of J.S. Bach’s complete sonatas and partitas for solo violin. In the coming seasons in addition to Photo by Luke Ratray championing these solo works he will join his long time duo partner, pianist Akira Eguchi, in recitals throughout North America, Europe, and Asia. Appearances with orchestra regularly include the Berlin Philharmonic, Boston Symphony, Chicago Symphony, Israel Philharmonic, Los Angeles Philharmonic, New York Philharmonic, Orchestre de Paris, and San Francisco Symphony, as well as multi-year residencies with the Orchestras of Montreal, Stuttgart, and Singapore. With orchestra, Mr. Shaham continues his exploration of Violin Concertos of the 1930s, including the works of Barber, Bartok, Berg, Korngold, Prokofiev, among many others. Mr. Shaham has more than two dozen concerto and solo CDs to his name, earning multiple Grammys, a Grand Prix du Disque, Diapason d’Or, and Gramophone Editor’s Choice. Many of these recordings appear on Canary Classics, the label he founded in 2004. His CDs include 1930s Violin Concertos, Virtuoso Violin Works, Elgar’s Violin Concerto, Hebrew Melodies, The Butterfly Lovers, and many more. His most recent recording in the series 1930s Violin Concertos Vol. 2, including Prokofiev’s Violin Concerto and Bartok’s Violin Concerto No. 2, was nominated for a Grammy Award. Mr. Shaham was born in Champaign-Urbana, Illinois, in 1971. He moved with his parents to Israel, where he began violin studies with Samuel Bernstein of the Rubin Academy of Music at the age of 7, receiving annual scholarships from the AmericaIsrael Cultural Foundation. In 1981, he made debuts with the Jerusalem Symphony and the Israel Philharmonic, and the following year, took the first prize in Israel’s Claremont Competition. He then became a scholarship student at Juilliard, and also studied at Columbia University. Gil Shaham was awarded an Avery Fisher Career Grant in 1990, and in 2008 he received the coveted Avery Fisher Prize. In 2012, he was named Instrumentalist of the Year by Musical America. He plays the 1699 “Countess Polignac” Stradivarius, and lives in New York City with his wife, violinist Adele Anthony, and their three children.

THE KNIGHTS Conductor Eric Jacobsen

Violin

Cello

Horn

Colin Jacobsen Christina Courtin Emily Daggett Smith Kristi Helberg Nanae Iwata Tara Lynn Ramsey

Jane Cords-O’Hara Caitlin Sullivan

David Byrd-Marrow Karl Kramer

Bass

Trumpet

Shawn Conley

Sycil Mathai

Viola Mario Gotoh Miranda Sielaff

Flute

Harp

Sooyun Kim

Chloe Tula

Oboe

Percussion

Gustav Highstein

David Stevens

Clarinet Agnes Marchione

Bassoon Erik Höltje

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Cinderella A holiday tradition since 1993 December 14, 2019, 1:30 & 7 p.m. Phillips Center

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March 14, 2020, 1:30 & 7 p.m. | Phillips Center Ticket Information — 352-371-0761 | 352-392-arts

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