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presents
SARAH CHANG Violin
JULIO ELIZALDE Piano
SUNDAY, SEPTEMBER 22, 2019 | 7:30 P.M. Curtis M. Phillips Center for the Performing Arts
OPUS 3 ARTISTS presents
Sarah Chang
Julio Elizalde
Violin
Piano
———————— Program Romanian Folk Dances
Béla Bartók
Joc cu bâta Brâul Pe loc Buciumeana Poarga romaneasca Maruntel
Sonata in A major
César Franck
Allegretto ben moderato Allegro Recitativo — Fantasia: ben moderato Allegretto poco mosso
———————— INTERMISSION Salut d’Amour, Op. 12
Edward Elgar
Les Ronde des Lutins (Dance of the Goblins)
Antonio Bazzini
Romance in F minor, Op. 11
Antonin Dvorák
Tzigane
Maurice Ravel
———————— Exclusive Management for Sarah Chang: Opus 3 Artists 470 Park Avenue South, Ninth Floor North New York NY 10016 www.opus3artists.com Sarah Chang records for EMI Classics.
Program Notes Romanian Folk Dances Béla Bartók Born March 25, 1881, in Nagyszentmiklos, Hungary; died September 26, 1945, in New York In 1905, Béla Bartók began the study of folk music of Hungary, which was to be the central element in his work during the remaining 40 years of his life. In collaboration with the composer Zoltán Kodály, he collected and examined the music of the itinerant Gypsies and peasants in an area that stretched from Slovakia to Romania. He assimilated the styles of this music so thoroughly that it became impossible to tell the authentic folk tunes from the original material in his work. It was a progression, as one biographer brilliantly put it, “from real to imaginary folk music.” In 1915, he assembled this set of Romanian Folk Dances from Hungary into a suite for piano, using material he had gathered in 1910 and 1912 in Transylvania; he described it as a very simple arrangement for educational use. In 1917, he arranged the work for small orchestra. It has been one of his most popular compositions ever since, and has been arranged for string orchestra, for violin and piano, and for other instrumental ensembles. His friend, Zoltán Székely created the popular violin arrangement. In Bartók’s collection of Romanian folk tunes, issued posthumously in the 1960s, there are some 3,400 melodies, more than a thousand of them instrumental dance tunes that accompanied the dancing in Transylvanian village squares on Sundays. There are six dances in the set. Bartók heard the first dance played by Gypsy fiddlers, the second and third played by Romanian peasants on folk flutes, and the last performed by Gypsy and peasant fiddlers. Each of the dances is a fairly straightforward rendering of its folk tune derivative; he elaborated little on the source materials. The music begins with Bot tánc/Jocul cu bâta or Stick Dance, a high kicking dance that was originally a Gypsy duet for a folk string instrument and violin. Brâul, or Sash Dance existed as a popular round dance whose melody Bartók first heard played on a peasant flute. Topogó/Pe loc or In One Spot denotes a dance in which a couple dances together, the man with arms akimbo and the woman’s hands on his shoulders. Next comes the Bucsumí tánc/Buciumeana or Dance from Bucsum; the title remains obscure (it is sometimes called Hornpipe Dance). Bartók took the tune from a Gypsy fiddler. Following is Román polka/ Poarga Româneasca or a Romanian Polka, which was collected in the hometown of the friend to whom he dedicated this work. At the end comes a pair of Aprózó/Maruntel or Fast Dances (also known as Short and Sweet).
Sonata in A major César Franck Born December 10, 1822, in Liège, Belgium; died November 8, 1890, in Paris César Franck was a child prodigy pianist whose father wished him to make a career as a traveling virtuoso. The elder Franck hoped his son would emulate the career of the young Mozart and that he could arrange his son’s career for him as Mozart’s father had done for Mozart when he was a child. Although Franck was a prodigy who gave many concerts in Belgium, the dream of the elder Franck was never fulfilled. By 1835, Franck had exhausted the musical possibilities of his teachers in Liège and went to Paris to find more stimulation. In 1836, he entered the Paris Conservatory, where he won numerous prizes in piano, organ, and composition for his fugues. When he was professor of organ at the Conservatory, Franck’s organ classes, instead of the regular composition classes, attracted the most talented students. Franck lived a quiet, modest life devoted to the organ and to his students. Becoming for a new generation of French composers a most significant mentor, his emphasis on organ music based on the counterpoint of Bach led young French musicians toward the ideal of absolute music. It was not until late in life that Franck discovered his talent for composition; his composing did not begin in earnest until he was about 50 years old. All of his music that we listen to now was written late in his life: he composed his only symphony when he was 66, and completed his String Quartet the year before he died. The distinguishing characteristics of Franck’s music are clarity of contrapuntal structure and fullness of harmony, as well as a fine balance between diatonic and chromatic writing in his melodic themes. He wrote the Violin Sonata in 1886, when he was 63, for the renowned Belgian violinist Eugène Ysaÿe (1858-1931), who performed it the first public performance on December 16, 1886, in Brussels and introduced it to Paris in May 1887. The composer Vincent d’Indy, who was Franck’s pupil and biographer, reported that the premiere took place at the end of an afternoon concert in a room of the Brussels Museum of Modern Painting, where artificial illumination was forbidden. When the first movement concluded, the room had become so dark that the performers could no longer read their music, yet the audience refused to leave. Ysaÿe rapped his violin bow against the music stand for attention, and shouted, “Let’s go!” as he and the pianist, Léontine-Marie Bordes-Pène continued on, playing the remaining three movements of this new and difficult work from memory in complete darkness. D’Indy wrote that their performance had fire and passion and was an unforgettable miracle, in which music, free of any externals, wondrous and alone, controlled the night. Ysaÿe became a well-known French musician of his time, a conductor and composer as well as a violinist. His performance of the Franck Violin Sonata on his tours of Europe and America established its permanent place in the concert repertoire.
The Violin 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 the whole coherence. In the Violin Sonata these qualities appear in conjunction with basic forms that add structural strength to the warmth of melody. The first movement, Allegretto ben moderato, is an abridged version of classical first-movement sonata form and serves as a kind of prelude to the rest of the work. Franck’s innovation here is that the opening movement has a slower tempo than was usual for first movements. The first theme declares the mood with the color of Franck’s musical aesthetics. The piano replies with the second theme, and the rest of the movement evolves from these two. The second movement, Allegro, a more fully developed sonata form structure, begins with a torrent of chromatics flowing upwards, building tension and then releasing tension as the theme descends downwards again. Development and recapitulation, as well as a coda, follow in the usual sonata form. The third movement, Recitativo — Fantasia, has two parts, beginning with a recitative introducing a free fantasy in which musical ideas previously used reappear, and themes that will be taken up later are presented for the first time. Although the sonata ends with a movement in a quick tempo, Franck does not adhere to the general custom of enclosing the sonata with the quickest movements and putting the slower ones in the interior movements. The last movement, Allegretto poco mosso, is a rondo whose recurring principal subject appears in a canonic imitation that the music historian, Arthur Cohn, called “one of the most beautiful canons in all of music.” In the magnificent and resplendent canon, the violin strictly imitates the piano in passages calling for astounding technical skill.
Salut d’Amour, Op. 12 Edward Elgar Born June 2, 1857, in Broadheath, England; died February 23, 1934, in Worcester, England The splendid work of Sir Edward Elgar finally lay to rest the belief that England was somehow an unmusical country. His earliest professional engagements were as music teacher at a school for the blind and then as conductor of an orchestra of mental hospital patients, but from these beginnings eventually came the masterful composer of oratorios, symphonies, concertos, and the great Enigma Variations. Elgar became the model of the Edwardian artist-gentleman, and in 1904, he was knighted.
Salut d’amour was composed as an engagement present for his fiancée, Caroline Alice Roberts. She often gave him her poems as gifts, and he reciprocated with compositions. Written in September 1888, he dedicated Salut d’amour “à Carice,”
a made up name, an anagram that played on telescoping her two names. Carice would become the name the two would later give their only child. Salut d’amour existed first as a violin piece with the title Liebesgrüss. Elgar sold the work to his publisher Schott in the solo violin version, as well as in his own arrangement for orchestra, and a violin and piano transcription, all for only two guineas, about $10 in today’s currency. The publisher, thinking it would sell better if its title were in French, changed the name and sold it with great success. When Elgar became upset that he had accepted so little, Schott guiltily added a royalty, but the payment was still very short of what Elgar deserved. This injustice to Elgar became glaringly evident when Salut d’amour was one of the first pieces chosen for very early recording sessions in 1914. The orchestra used was known merely as The Symphony Orchestra: it was in fact a recording ensemble selected from among the most experienced players in London orchestras. Salut d’amour lent itself perfectly to the new gramophone: its length fit the four-minute record, and its intimacy suited the limitation of orchestral forces that the gramophone imposed. The charming Salut d’amour is one of Elgar’s lightest works. The melody is memorable, if slight, and the orchestration is tasteful and restrained. The work was not only an immediate popular success, but has become one of Elgar’s most well known: it has been arranged in 26 ways and turned into a song in four languages. In the music, Elgar used a sequence of notes from the primary theme to create the contrasting second theme, a distinct advance on the more straightforward variation technique he had used before.
La Ronde des Lutins (Dance of the Goblins) Antonio Bazzini Born March 11, 1818, in Brescia, Italy; died February 10, 1897, in Milan Encouraged by Paganini, Antonio Bazzini began his virtuoso violin concert career at an early age and became one of the most highly regarded artists of his time. Schumann and Mendelssohn both admired his playing a great deal. Bazzini also became a widely admired composer. He held a position of prominence at the Milan Conservatory, where he taught composition to Pietro Mascagni and Giacomo Puccini. Today, however, Bazzini is not known except for this single virtuoso showpiece for violin and piano, composed early in his career in 1852. Bazzini described La ronde des lutins as a scherzo fantastique for violin and piano. Gil Shaham has commented that this most demanding piece is “like three minutes of hurdles, one after the other.” The scoundrel goblins force the violinist to stretch his finger power to the limit in order to keep pace with their devilish pranks. Ricochet bowings, double-stop tremolos, wild leaping from string to string while repeating the same note and false harmonics, all seemingly a sine qua non in any mid-19th century violin showpiece, follow a compact, and charmingly mischievous rondo.
Romance in F minor, Op. 11 Antonin Dvorák Born September 8, 1841 in Nelahozeves; died May 1, 1904, in Prague Dvorák’s father, a village innkeeper and butcher, who hoped his son would join his trade, would have been astonished that his son, in his maturity, became an internationally renowned composer and director of a music school in New York City. The young man began studying music when he took violin lessons from a local schoolteacher, and at 16 left home to study in Prague. Five years later, he joined the orchestra of the National Theater, playing the viola (in his time the viola was designated the instrument of failed violinists). Soon thereafter, he began to test his creative powers with extended compositions in the classical forms. Until he was more than 30 years old he was unknown as a composer outside of the little circle of musicians in Prague who were his friends. Then in 1875, his talent came to the attention of Brahms, who helped launch him in his career by getting him a generous grant from the Austrian Imperial government in Vienna and recommending him to his publisher in Berlin. Dvorák did not even own a piano when Brahms arranged for him to receive a generous grant from the Austrian Minister of Culture, but the happy new freedom that the money brought him resulted in the first fine works of his early maturity. Chamber music had an important place in Dvorák’s life; many of his earliest works were quartets and quintets, modeled after those of Beethoven and Schubert that he played with his colleagues while developing his craft. Among them was a String Quartet in F minor, written in 1873. In 1875, after Brahms “discovered” Dvorák and his career suddenly blossomed, the quartet still had not been performed. Dvorák did not abandon the work completely, but extracted from its slow movement a theme that he used as the basis of a new composition, this lovely Romance. Composed sometime between the autumn of 1873 and the end of 1877, this lyrical Romance takes the form of a three-part song that has a melancholy subject with a debt in its harmony to the nationalistic consciousness that so often imbues Dvorák’s music. This appealing piece, although lyrical, is both contemplative and poignant.
Tzigane Maurice Ravel Born March 7, 1875, in Ciboure, France; 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, and 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’ 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 5 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, Ravel 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’Arányi 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 even more difficult. — Program notes are copyright © Susan Halpern, 2019
SARAH CHANG Violinist Recognized as one of the foremost violinists of our time, Sarah Chang has performed with the most esteemed orchestras, conductors, and accompanists in an international career spanning more than two decades. Since her debut with the New York Philharmonic at the age of 8, Ms. Chang has continued to impress audiences with her technical virtuosity and refined emotional depth. Highlights from Ms. Chang’s recent and upcoming seasons, have included performances with such North American orchestras as the New York Philharmonic, Los Angeles Philharmonic, Photo by Colin Bell Philadelphia Orchestra, Chicago Symphony, National Symphony Orchestra, Boston Symphony, Cleveland Symphony, Montreal Symphony, Houston Symphony, Detroit Symphony, San Francisco Symphony, Toronto Symphony, Vancouver Symphony, Cincinnati Symphony, San Diego Symphony, and New Jersey Symphony. She has also performed at the Hollywood Bowl and at the Tanglewood, Ravinia, and Aspen Music Festivals, among others. With a career that has blossomed internationally, her European engagements have taken her to Austria, France, Germany, Italy, Spain, Switzerland, and the United Kingdom, and her engagements in Asia have brought her to audiences in China, Japan, Korea, Malaysia, Singapore, Australia, and New Zealand. As an accomplished recital and chamber musician, Ms. Chang regularly travels the world, and has performed with such artists as Pinchas Zukerman, Yefim Bronfman, Leif Ove Andsnes, Yo-Yo Ma, Isaac Stern, Wolfgang Sawallisch, and members of the Berlin Philharmonic Orchestra. Ms. Chang’s most recent recording for EMI Classics — her 20th for the label — featured the Brahms and Bruch violin concertos with Kurt Masur and the Dresdner Philharmonie, and was received to excellent critical and popular acclaim. Her recording of Vivaldi’s Four Seasons attracted international commendation, with BBC Music Magazine stating: “She has never made a finer recording.” She has also recorded Prokofiev Violin Concerto No. 1 and Shostakovich Violin Concerto No. 1 live with the Berliner Philharmoniker under the baton of Sir Simon Rattle; Fire and Ice, an album of popular shorter works for violin and orchestra with Placido Domingo conducting the Berliner Philharmoniker; the Dvorák Violin Concerto with the London Symphony Orchestra and Sir Colin Davis; as well as several chamber music and sonata discs with artists including pianists Leif Ove Andsnes and Lars Vogt.
Along with Pete Sampras, Wynton Marsalis, and Tom Brady, Ms. Chang has been a featured artist in Movado’s global advertising campaign, The Art of Time. In 2006, Ms. Chang was honored as one of 20 Top Women in Newsweek magazine’s Women and Leadership, 20 Powerful Women Take Charge issue. In March 2008, Ms. Chang was honored as a Young Global Leader for the year by the World Economic Forum (WEF) for her professional achievements, commitment to society and potential in shaping the future of the world. In 2012, Sarah Chang received the Harvard University Leadership Award, and in 2005, Yale University dedicated a chair in Sprague Hall in her name. For the June 2004 Olympic Games, she was given the honor of running with the Olympic torch in New York, and that same month, became the youngest person ever to receive the Hollywood Bowl’s Hall of Fame award. Also in 2004, Ms. Chang was awarded the Internazionale Accademia Musicale Chigiana Prize in Siena, Italy. Other previous distinctions include the Avery Fisher Career Grant, Gramophone’s Young Artist of the Year award, Germany’s Echo Schallplattenpreis, Newcomer of the Year honors at the International Classical Music Awards in London, and Korea’s Nan Pa award. In 2011, Ms. Chang was named an official Artistic Ambassador by the United States Department of State.
JULIO ELIZALDE Pianist Praised as a musician of “compelling artistry and power” by The Seattle Times, the gifted American pianist Julio Elizalde is a multi-faceted artist who enjoys a versatile career as soloist, chamber musician, artistic administrator, educator, and curator. He has performed in many of the major music centers throughout the United States, Europe, Asia, and Latin America to popular and critical acclaim. Since 2014, he has served as the Artistic Director of the Olympic Music Festival near Seattle, Washington. Mr. Elizalde has appeared with many of the leading artists of our time. He tours Photo by Amanda Westcott internationally with world-renowned violinists Sarah Chang and Ray Chen and has performed alongside conductors Itzhak Perlman, Teddy Abrams, and Anne Manson. He has collaborated with artists such as violinist Pamela Frank, composers Osvaldo Golijov and Stephen Hough, baritone William Sharp, and members of the Juilliard, Cleveland, Kronos, and Brentano string quartets.
Mr. Elizalde is a founding member of the New Trio, with violinist Andrew Wan, co-concertmaster of L’Orchestre symphonique de Montréal, and Patrick Jee, cellist of the New York Philharmonic. The New Trio was the winner of both the Fischoff and Coleman National Chamber Music Competitions and is the recipient of the Harvard Musical Association’s prestigious Arthur W. Foote Prize. As part of the New Trio, Mr. Elizalde has performed for leading American politicians such as President Bill Clinton, Condoleezza Rice, Henry Kissinger, and the late senator Ted Kennedy. He was a featured performer for the soundtrack of the 2013 film Jimmy P, composed by Academy Award-winner Howard Shore. Mr. Elizalde is a passionately active educator, having recently served as a Visiting Professor of piano at the University of Puget Sound in Tacoma, Washington. He has been a member of the faculty at the Manchester Music Festival in Vermont since 2011, and has given master classes at the San Francisco Conservatory of Music, Lawrence University, and the Music Institute of Chicago. He has also appeared at various summer music festivals including Yellow Barn, Taos, Caramoor, Bowdoin, Kneisel Hall, and the Music Academy of the West. Mr. Elizalde was a juror for the 2012 Fischoff National Chamber Music Competition held at the University of Notre Dame in South Bend, Indiana. Originally from the San Francisco Bay Area, Mr. Elizalde received a bachelor of music degree with honors from the San Francisco Conservatory of Music, where he studied with Paul Hersh. He holds master’s and Doctor of Musical Arts degrees from The Juilliard School in New York City, where he studied with Jerome Lowenthal, Joseph Kalichstein, and Robert McDonald.
presents
POSTMODERN JUKEBOX WEDNESDAY, SEPTEMBER 25, 2019 | 7:30 P.M. Curtis M. Phillips Center for the Performing Arts
Sponsored by
DRUMMOND COMMUNITY BANK INFINITE ENERGY SCHERER CONSTRUCTION
POSTMODERN JUKEBOX WELCOME TO THE TWENTIES 2.0 WORLD TOUR To usher in the upcoming Twenty-Twenties, famed time-twisting musical collective Postmodern Jukebox will circumnavigate the globe in 2019 on their Welcome to the Twenties 2.0 Tour. The tour is meant to prepare the world for a new decade — one that Postmodern Jukebox creator Scott Bradlee hopes will see a return to the style and craftsmanship that typified the music of past generations. “Last time around the Twenties gave us Jazz, America’s one true art form. Who knows what is possible in the 2020s?” says Bradlee. “One thing that is for sure is that there are a lot of folks that are tired of the clickbait headlines, mindless reality TV, and smartphone addiction that has only served to divide people in the last decade. We’re using our small corner of the pop culture space to tell people to forget their troubles, and come join us for a night of celebrating true musical talent and timeless style — live and in real life.” The Postmodern Jukebox, Welcome to the Twenties 2.0 Tour, will host official Twenties 2.0 initiation performance parties in nearly 250 cities. “When creating a touring version of the Postmodern Jukebox concept, we work on pairing the right talent with the right material and building a unique and amazing experience for Postmodern Jukebox fans,” Bradlee says. “Get ready for the most sensational ’20s party this side of The Great Gatsby.” Started by Bradlee in 2009, Postmodern Jukebox (PMJ) has gone on to amass more than 1 billion YouTube views with 3.5 million subscribers, and have chalked up more than 1.7 million fans on Facebook. For the past half decade, PMJ has toured the world, playing hundreds of shows to sold-out houses on six continents. They’ve also performed on shows like Good Morning America, topped iTunes and Billboard charts, and caught the attention of NPR Music, NBC News and a wide array of celebrity fans.
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D anscompany of Gainesville Resident Company of Cameron Dancenter
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Cinderella A holiday tradition since 1993 December 14, 2019, 1:30 & 7 p.m. Phillips Center
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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.
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