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£Hiuetaf*o and Zeuaa f/luga ^fuzuAi in t/ie celeoY*ation oftheii* tenth season of "iSuzuAi <£* &f*ienas" ffjA/e/i t*€fif*esents a decade of e,jctiHif>fHUntiiHj aftistie co/lalto/nt/ion anil musical achievement You go over it again. Getting closer every time. The feelings are there. And the notes are coming. You'll know when you have it. And so will we. That's why we support Indiana arts.

Or9fww% M*4k/fYlw'' SUZUKI & FRIENDS 10th Anniversary Season The Children's Museum

Page Table of Contents 2 About the Featured Artists 7 September 20 program 8 Program Notes for September 20 11 November 15 program 12 Program Notes for November 15 14 February 28 program 15 Program Notes for February 28 19 March 28 program 19 Program Notes for March 28 22 April 25 program 23 Program Notes for April 25 25 May 23 program 26 Program Notes for May 23 28 History of Cathedral Arts

At 7:00 p.m. before each Suzuki & Friends concert, a radio personality conducts an informal discussion with one or more of the evening's performers. Focusing on the music, the instruments, or the artist's own career, "Making Music" brings added insight into the program for young and old members of the audience. No children under the age of six shall be admitted. Children between the ages of six and thirteen must be accompanied by an adult at all times during a concert.

No photographic or recording equipment is allowed in the theater. Unauthorized personnel are not allowed backstage at any time because of safety and security regulations. Following the concert, the performing artists will greet members of the audience in the area immediately in front of the stage. ABOUT THE FEATURED ARTISTS . . ; HIDETARO SUZUKI, violinist and conduc­ tor, began concertizing throughout Japan at the age of 14 as a result of winning the first prize in that country's National Violin Competition. Since then, his performances have also been awarded with top prizes at the Tchaikovsky International Competition in Moscow, the Queen Elisabeth in Brussels, and the Montreal International. Since his graduation from the Curtis Institute of Music, Mr. Suzuki has been a soloist, conductor, concertmaster and chamber musi­ cian throughout the world. He has been a par­ ticipant in the Marlboro, Stratford (Canada), and Grand Teton Music Festivals, and has served as a member of the jury in the Montreal and Indianapolis International Violin Competitions. In addition to being the concertmaster of the Indianapolis Symphony Orchestra and a faculty member at the Jordan College of Fine Arts, Mr. Suzuki is the artistic director of "Suzuki & Friends," now celebrating its tenth season. Mr. Suzuki's playing has been described as "tonal magic" with "graceful phrasing, rich sonority and delicate sensitivity." Music is ZEYDA RUGA SUZUKIS first Ian guage. At the age of three she learned how to read music before she learned how to read Spanish in her native Cuba. Since then, her fluency and eloquence in the language of music have transcended cultural and political boundaries. Married to Japanese violinist Hidetaro Suzuki in 1962, she and her husband have enjoyed a magnificent global partnership, hav­ ing toured extensively in the Soviet Union in 1980 and in Japan every year since 1964, play­ ing over 250 concerts there. The Asahi Shim- bun, Japan's largest newspaper, has hailed her as "masterful," adding that "the special beauty of Mrs. Suzuki's tone and her irresistible expressivity are unforgettable." Since coming to Indianapolis in 1979, whether playing in a duo, as a piano solo recitalist, soloing with the Indianapolis Symphony or in chamber music collaborations with local, national and international artists, Mrs. Suzuki's depth and dedication have captivated the Hoosier audience, inspiring Arts Indiana to call her "an Indianapolis treasure." Mrs. Suzuki has recorded several discs for Toshiba-EMI, Select Canada and CBC International. February 28,1990 program

The exciting young mezzo soprano MARY ANN HART, recognized for her vocal purity and expressivity, won Second Prize in the 1987 Carnegie Hall International American Music Competition for Vocalists and has been awarded a Solo Recitalist Grant by the National Endowment for the Arts. This season her con­ cert schedule includes performances with the Chamber Music Society of Lincoln Center, Steve Reich's Tehillim with American Com­ posers Orchestra in Carnegie Hall, and her Chicago recital debut in the Dame Myra Hess Memorial Concert Series. A native of Missouri, Mary Ann Hart grew up in a musical family, and graduated with a degree in voice from Central Missouri University, which in 1986 named her its Distinguished Music Alumna of the Year. Her Master's Degree is from the University of Illinois, where studies with pianist-coach John Wustman and Grace Wilson prompted her to pursue her love of song repertoire in Vienna. During her three years in Austria, she earned a Diploma in Lied and Oratorio from the Hochschule fuer Musik, with a Prize of Distinction from the Austrian Ministry of Culture. Using the international competition as a showcase for her prowess on the concert stage, Mary Ann Hart won First Prize in the Concert Artists Guild International New York Competition, as well as top prizes in the Walter J. Naumburg Vocal Competition, the Minna Kaufmann Ruud Dis­ tinguished Performance Awards, the Washington International Competi­ tion, the National Association of Teachers of Singing's Artist Awards, and the Robert Schumann International Competition. She has recordings on the Eterna, Arabesque, Telefunken-Decca, and Musical Heritage labels. Miss Hart has recorded programs for broadcast in Vienna, Zwickau, Cologne and Washington, DC, and has been featured on NPR's Carnegie Hall Tonight singing Dominick Argento's cycle Casa Guidi with the American Composers Orchestra under Gunther Schuller. March 28,1990 program CAROL WINCENC, a frequent guest of major orchestras and festivals throughout the U.S.A., has also recently scored great successes with the London Symphony at the Barbican, the English Chamber Orchestra at the Aldeburgh Festival, as guest of the Budapest Spring Festival and in tours of Korea and Japan. Long a champion of contemporary music, Ms. Wincenc gave the world premier of "A Renaissance Concerto for flute and orchestra," written for her by Lukas Foss, with the Buffalo Philharmonic in May, 1986. She then pre­ miered the work in Germany with the Indian­ apolis Symphony Orchestra under the direction of John Nelson. The New York premiere took place at Carnegie Hall during the 1988/89 season with Ms. Wincenc appearing as soloist with the American Symphony Orchestra. Later that season, she gave another important premiere at Carnegie Hall — a concerto written for her by Joan Tower, performed with the American Composers Orchestra. In 1985, Miss Wincenc created and became artistic director of the first International Flute Festival, a very successful event in Saint Paul and New York that demonstrates the impact around the world of the flute and its related family of instruments. Miss Wincenc is equally active on the recording front, having albums on the Nonesuch label and with the Musical Heritage Society She is presently on the faculty of Indiana University's School of Music. MARIA CASALE, winner of the 1989 USA International Harp Competition, studied harp with the legendary Mildred Dilling and in 1980 entered the Juilliard School of Music, where she studied with Susann McDonald. She received bachelor and master's degrees from Juilliard, where she also won the Concerto Competition and Arthur Ross Scholarship. Ms. Casale won the American Harp Society's National Competition in the Advance Division in 1981. She was a semi-finalist in the 32nd International Music Competition in Munich, Germany, in 1983; and one of three finalists in the 9th International Harp Competition in Israel. In 1986, Ms. Casale joined the Concert Artists Program of the American Harp Society and is now concertizing throughout the United States. In addition to her busy recital schedule, Ms. Casale is an avid chamber musician and works frequently with the Los Angeles Philharmonic. 4 April 25 program

JOHN KASICA, percussion, became a mem­ ber of the Saint Louis Symphony in 1971 at the • K age of twenty-two. He received his bachelor's m degree from the Juilliard School where his teachers included Saul Goodman and Elden Bailey. Prior to his appointment in St. Louis, he had performed with the New York City Opera and the New York Philharmonic. Known as a virtuoso mallet player, he has appeared as a ^•fc Itata^ soloist with the Saint Louis Symphony Music Bk. VfeftS I Aeterna Orchestra of New York, the Canton m^^^^^j^H I Symphony the North Carolina Symphony and mk• I Minnesota Orchestra. In addition, he has been the percussionist at the festivals of Kekrade (the Netherlands), Aspen, Spoleto and Grand Teton. In 1983, he performed the American premiere of the Tilo Medic Marimba Concerto with the North Carolina Symphony. In 1985, Mr. Kasica performed the American premier of The Mihero Miki Marimba concerto with the St. Louis Symphony and also performed the work in Tokyo, Japan, as soloist with the St. Louis Symphony's Far East Tour. In 1987, the St. Louis Symphony commissioned a solo marimba work for Mr. Kasica by the composer in residence of the Atlanta Symphony, Alvin Singleton. The world premier followed in November of the year. In January, 1990, Mr. Kasica makes his solo debut at Carnegie Hall and in Symphony Hall in Washington, DC performing Bartok's Sonata for two pianos and percussion with the St. Louis Symphony on tour. He made his solo debut on accordion with the St. Louis Symphony Pops conductor Richard Hayman the summer of 1989. We salute the Tenth Anniversary of Suzuki & Friends and congratulate this outstanding ensemble for enriching the cultural life of Indianapolis.

LOCKE REYNOLDS

Counsellors at Law

Indianapolis • Carmel Program for SUZUKI AND FRIENDS September 20,1989

J.C. BACH Symphony for Double Orchestra in E-flat major, Op. 18, No. 1 Allegro spiritoso Andante Allegro

J.ADAMS Shaker Loops for string orchestra Shaking and Trembling Hymning Slews Loops and Verses Final Shaking (Movements played without pause)

INTERMISSION

A. WEBERN Six Bagatelles for string quartet, Op. 9 Masig Leigh t bewegt Ziemlich Hiessend Sehr langsam Ausserst langsam Fliessend Hidetaro Suzuki, Muriel Mikelsons, violin Beverly Scott, viola Sarah Boyer, cello

A. VIVALDI Concerto Grosso for four violins and string orchestra in B minor, Op. 3, No. 10 Allegro Largo-Larghetto Allegro Solo Players Hidetaro Suzuki, Konstantin Umansky, David Bartolowits, Dinah Montgomery, violin

Orchestra continued on next page

7 SUZUKI & FRIENDS ORCHESTRA Konstantin Umansky, Noelle Tretick, Mary Ann Berens, David Bartolowits, Catherine Rossi, Muriel Mikelsons, Gino Agresti, Marc Silberger, Dinah Montgomery, Pamela Miller, violin Elizabeth Liederbach, Anne Philpott, Christine Riha, Marjorie Rupp, viola Jiro Yamaguchi, Sarah Boyer, cello Leonard Bennett Crantford, Peter Hansen, contrabass Rebecca Price, Philip Sample, flute Jill Marchione, Sharon Possick-Lange, oboe Robert Broemel, Jeffrey Lange, bassoon Gerald Montgomery, Peter Kline, horn Amy Tharp, harpsichord Hidetaro Suzuki, conductor PROGRAM NOTES the early symphonic style; called le coup d'archet, or the stroke of the bow; one is certainly reminded by Hsueh-Yung Shen of its practical function to silence an audience at September 20, 1989 the beginning of a work. Mozart was to use a very similar motive to begin his Haffner Symphony. Johann Christian Bach: The slow movement presents a more sophisti­ Symphony for Double Orchestra cated use of the double orchestra, in which each in E-flat major orchestra has its own characteristic texture. The Op. 18, No. 1 {circa 1780) first orchestra mostly goes in light running tri­ plets, while the second has more sustained and Of all of Johann Sebastian Bach's sons, Johann slower- moving lines. The Finale is a fairly typical Christian had not only the biggest reputation in "hunting" movement, featuring fast triplet his time, it eclipsed that of his father. Being the rhythms and horn calls. youngest of his father's sons, his style is naturally quite a bit more "modern" than his father's, and in fact, he was very much influential in the develop­ ment of the Classic style. In particular, he was an John Adams: important model for the young Mozart; much of Shaker Loops for string orchestra what the modern listener recognizes as typically (1978, revised 1983) Mozart can be readily traced to J.C Bach. The present work forms the first of Bach's last Among the emerging younger generation of published set of six symphonies, during the time composers in this country, John Adams stands out which he lived in London. Three of those sym­ with a distinctive and personal style. He certainly phonies are for a double orchestra, such as the achieved his fame in almost an old-fashioned way, present work. Each orchestra has its own string via a successful opera, Nixon in China, as well as section; the winds are divided up between the with major orchestral works like Harmonielehre. two orchestras. The first orchestra has the bigger During the crucial years in the 1970's, his style share of the winds, with oboes, bassoons, and shared many characteristics of the so-called Mini­ horns; the second orchestra has the flutes. One malists like Terry Riley and Steve Reich, with their can still sense vestiges of the Baroque concerto slowly evolving ostinato repeating patterns. Labels grosso in this arrangement of instruments; Vivaldi, unfortunately stick on composers; his maturing in fact, has a number of concerto works for double style, with its much richer harmonic range, bears orchestra, not to mention J.S. Bach's use of the little resemblance to composers like Reich. In double orchestra in the Saint Matthews Passion. Adams' own way, his technique resembles more As one might expect, the two orchestras are fre­ the evolving textures of a Gyorgy Ligeti, albeit in a quently treated antiphonally with the two groups more consonant fashion. presenting similar material alternately. In the first A fundamental part of Adams' style is the pro­ movement, the opening motive, first heard in uni­ cess of transition. One of the hallmarks of com­ son, has such a strong profile that it is frequently posers of any given style is the handling of brought in as counterpoint to other material. The transitions. In older Classic styles one looks for idea of an opening unison is almost a trademark of how one gets from one key to another, or how changes of textures and moods are handled. One, Consider what moderation is required however, is less apt to find situations where the to express oneself so briefly. You can basic idea of the work constantly changes, and stretch every glance into a poem, every where the process of change itself is highlighted. sigh into a novel. But to express a novel in a Certain aspects of this already surfaced in single gesture, a joy in a breath — such Debussy, who generally likes to begin with a mys­ concentration can only be present in pro­ tery, which is gradually clarified (for that matter, portion to the absence of self-pity. the beginning of Beethoven's Ninth Symphony These pieces will only be understood by could be heard as a precursor to Minimalism). those who share the faith that music can Stravinsky, naturally, strongly anticipated the tech­ say things which can only be expressed by nique, in many sections of Petroushka. music. In the present work, one is felt to be in transi­ These pieces can face criticism as little tion from beginning to end. The title is a reference as this — or any — belief to an old sect called the Shakers, for their propen­ If faith can move mountains, disbelief sity to shake and tremble during religious serv­ can deny their existence. And faith is impo­ ices. Abrupt stops are few and far-between in this tent against such impotence. work; each unit of the work, however one defines Does the musician know how to play it, merges gradually with the next unit. these pieces, does the listener know how The four parts labeled in this work, though to receive them? Can faithful musicians having no clear-cut divisions, provide at least a and listeners fail to surrender themselves general guide to the changing character of the to one another? work. Part I ("Shaking and Trembling") mostly But what shall we do with the heathen? features nervous repeated l6th-notes, in the man­ Fire and sword can keep them down; only ner of a moto perpetuo. Various repeating patterns believers need to be restrained. weave in-and-out among the basic pulse defined May this silence sound for them. by the l6th-notes. The pattern is broken only once, where a sudden drop in dynamics leads These small pieces, written at the beginning of gradually to the calm sustained chords of Fart II the Modern period, are revolutionary, indeed. It is ("Hymning Slews"). During those chords, various as if the entire Wagnerian legacy, with all that it patterns involving isolated notes in harmonics and implies, is turned completely around. It is easy to trills ("shakes," as they were) are set up. see what these pieces are not: no five-hour opera, An emerging solo cello unobtrusively signals no big orchestra, no big Romantic gush of sound, the beginning of Fart HI ("Loops and Verses"), no big soaring line. And yet, precisely because where l6th-notes gradually surface again. A slow these pieces come so close after the late Roman­ accelerando and crescendo occurs, where both tics (Brahms only died in 1897, and Mahler in the tempo and dynamics gradually rise. The cli­ 1911), one hears echoes of individual phrases and max of this movement, in fact, will feature several isolated chords from the immediate past still full of convulsive cycles of accelerating pulses. Even­ their associated affects, all passing by very tually, as the entire ensemble plays in harmonics, fleetingly. In a more fundamental sense, these Fart IV ("A Final Shaking") brings back the steady pieces are still as profoundly Romantic as anything 16th-notes of Fart I. A droning chord in the celli Mahler ever wrote. To be Romantic is to feel emo­ and basses eventually closes the work. The stead­ tions and affects very intensely. Both Mahler and iness of that chord, in fact, provides the strongest Webern go to extremes, whether changes of clue that all of the processes of change is finishing. tempo, dynamics, moods, instrumentation; The original version of this work was for seven Webern simply takes less time to do so. One strings, later recast for full string orchestra. Many comes across some fascinating paradoxes: for of the repeating patterns in the original version such concentrated pieces there are a surprising had indeterminant lengths, i.e. any given pattern number of repeating ostinato patterns, and that was repeated until one had a cue to proceed to the the slower pieces especially give a profound sense next pattern. In the orchestra version, all the pat­ of time stopping still, in the space of only eight or terns are fully notated in the traditional fashion. nine bars. One might even sense the Viennese Anton Webern: nature of this piece in some of the faster pieces, Six Bagatelles for string quartet where the ubiquitous waltz rhythm occasionally Op. 9(1911-13) surfaces for just an instant. The preface which Arnold Schoenberg wrote in Every composer in Modern times has felt the the published score of this work is so cogent that it influence of Webern s small pieces. The process of is reproduced here in full: concentration in his style is not only integral to all Though the brevity of these pieces is a of the usual Modern styles, even the Minimalists, persuasive advocate for them, on the other who specialize in long pieces with small repeating hand that very brevity itself requires an patterns, can trace their processes to Webern. advocate. 9 Antonio Vivaldi: There is naturally much trading off between the Concerto Grosso for four violins solo violins, with each solo instrument being high­ and string orchestra in lighted in a somewhat unpredictable order. When B minor the four violins play together, there is usually an Op. 3, No. 10(1711) opposition of at least two different textures and figurations at the same time. The slow movement carries this latter idea one Among the most famous of the Vivaldi concerto step further, with a long passage which involves works are the twelve concerti which comprise the the four violins playing steady sixteenth-notes, Op. 3 set, collectively titled L'Estro Armonico. but each player articulating the notes in a different This was his first published set of concerti, which manner. Coupled with an adventurous progres­ featured anywhere from one to four solo violins, sion of harmonies, one gets a sort of Impres­ as well as a solo cello on occasion. Beginning sionism in 18th-century terms, which has some violinists no doubt remember more-or-less fondly relevance to contemporary composers like the sixth concerto in this set, in A minor, which Witold Lutoslawski and Gyorgy Ligeti. remains a staple in the teaching repertoire. Bach The typical Baroque effect of terraced dynam­ thought enough of the present work to transcribe ics, where short fragments are repeated first soft it for a concerto for four harpsichords, and then loud (or vice versa), is featured in the last learned much from Vivaldi's example for his own movement's opening theme. The opening unison concerto works. in the violins makes a sharp contrast to the intri­ Vivaldi gets a surprising amount of variety in cate textures which the violins engage in other textures with the use of the four solo violins. times.

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10 Program for SUZUKI AND FRIENDS November 15,1989

H. COWELL Set of Five for violin, percussion, and piano Largo sostenuto Allegro Andante Presto leggiero Vigoroso Hidetaro Suzuki, violin Kevin Kaiser, percussion Zeyda Ruga Suzuki, piano

M.HAYDN Toy Symphony Allegro Menuetto Finale: Allegro Konstantin Umansky, Muriel Mikelsons, Noelle Tretick, Dinah Montgomery, Christal Steele, Catherine Rossi, violin Anne McCafferty cello Robert Goodlett, contrabass Hidetaro Suzuki, conductor Toy Instruments: Vincent Goodlett, Corey McCafferty, David Mikelsons, Jay Mikelsons, Eric Steele, Boris Umansky

INTERMISSION

A. DVORAK Quintet for piano and strings in A major, Op. 81 Allegro ma non tanto Dumka; Andante con moto Scherzo; Molto vivace Finale: Allegro Hidetaro Suzuki, Muriel Mikelsons, violin Beverly Scott, viola Jiro Yamaguchi, cello Zeyda Ruga Suzuki, piano

11 PROGRAM NOTES Toy Symphony, attributed to Josef Haydn by Hsueh-Yung Shen (Hob 11:47), Michael Haydn, or Leopold Mozart November 15, 1989 The history of this work is indeed murky. It is very common for famous composers like Haydn to have a number of works attributed to him writ­ Henry Cowell: ten by other people, particularly since copyright Set of Five for violin, laws were non-existent in his time; publishers percussion, and piano obviously feel a piece with someone like Haydn's (1952) name would sell better otherwise. Michael Haydn, Josefs brother, is himself a composer of consider­ able stature; what was thought to be Mozart's Sym­ Cowell is one original personality, even among phony K. 444, in fact, was by Michael Haydn, with composers who pride themselves on being origi­ Mozart adding an introduction to the first move­ nal. Born near San Francisco in 1897, he rapidly ment. became a leading figure among the old avant- The manuscript to Leopold Mozart's Cassatio ex garde in this country. During the 1920s he G re-surfaced in 1951; it was a seven-movement shocked the establishment with novel uses of the work involving toy instruments with an orchestra piano; one saw the use of forearm clusters on the of strings with two horns. The third, fourth, and keyboard, and the use of hands or drum mallets on seventh movements, in fact, are substantially the the piano strings, in pieces such as Tiger and The same as the purported Haydn "Toy Symphony," in Banshee. The association of piano clusters with the key of G major, instead of the C major of the Cowell was such that Bartok was reported to have "Haydn" version. Leopold Mozart, Wolfgang's asked his permission for their use in Contrasts. father, seemed to have an active interest in toy During the 1930s, Cowell, along with Lou Har­ instruments; one other piece involving similar rison and John Cage, was pioneering in the use of instruments was Schlittenfahrt (Sleigh Ride). It is percussion instruments both standard and non­ thought that Mozart's Cassatio dates from 1760-70, standard. With all that, there was also a curious which predates the 1786 shown in the earliest of conservative streak in Cowell, which manifested the "Haydn" attributions. itself in the series of Hymn and Fuguing Tunes The present writer feels that there is a pos­ from the 1940s. More than the other non-main­ sibility that Mozart may have drawn upon a pre­ stream composers, he had a consuming interest in existing work, possibly by another composer, in music from a large range of diverse cultures, the "Toy Symphony" movements, if only because sometimes evoking several unrelated cultures in a the C-major "Haydn" version has the violins in a single composition. better register, and therefore sounding brighter, The present work appears to be representative than the corresponding places in the G-major of this phase of Cowell's style. Aspects of the New Cassatio. Much of the other movements of the England robustness of the "Fuguing Tune", the Far Cassatio, in fact, has the violins in a slightly higher Eastern gamelan, Near Eastern modal melodies, range. Composers of the time, in the absence of and Western Classical style are intricately inter­ copyright laws, were not squeamish about "bor­ woven. Certain aspects of his experimental vein rowing" from other composers. The question of still show through, though somewhat tempered a who wrote the "Toy Symphony" is still very much bit. The exotic sounds of muted gongs are made to open in the view of this writer. blend with modal contrapuntal textures; the The work itself is a simple but well-crafted scurrying xylophone runs, reminiscent of his ear­ piece in the manner of the early Classic sym- lier Ostinato Pianissimo (1934) for percussion phonists. The absence of violas makes the string ensemble, now blend with the violin and high texture even lighter than usual. The use of the piano in an almost tonal context. An ever shifting various percussion instruments and other sound pattern on hand drums accompany a rather senti­ effects is obviously the novelty of the piece, partic­ mental tune; a very Western moto perpetuo is ularly in the context of the Classic style; in more punctuated by porcelain or metal bowls. Even Modern times (some 160-170 years later!), works Cowell's no-longer infamous piano clusters now like Edgar Vareses Ionisation (1931) for thirteen serve to make a grand Fuguing-tune peroration in percussionists present a more dignified way with the Finale. As the theme from the first movement those kinds of instruments (sirens in Varese recurs in the Finale, one might see the whole work instead of cuckoos and 'whistles!). Nonetheless, as bounded by a Hymn and Fuguing Tune of sorts. one must still appreciate what it takes to adapt the A brief interlude occurs in the Finale where two-toned cuckoo to the Classic style, for it must celesta and piano harmonics combine for the only still harmonize properly. The toy trumpet, having instance in the work in which the experimental only one note, is strategically placed on the fifth vein dominates. degree of the scale. One will also see that the

12 various rattles, triangles, and whistles are not The Dumka is a common form for Dvorak's slow indiscriminately placed. Wolfgang Mozart was movements, where a melancholy first section is reported to have said, after he had heard this piece alternated with a considerably faster and more in 1791, that one cannot hide the master even in upbeat second section. Quite frequently, the his most trivial work. Dumka takes on a Rondo aspect when the main section recurs a number of times; the middle of the movement, in particular, gallops at a wild pace, Antonin Dvorak: in marked contrast to the two main themes of the Quintet for piano and strings movement. in A major The Furiant designated in the Scherzo is a fast Op. 81(1887) triple-meter dance, occurring very often in Dvorak, though this one lacks the three-against- The present work is actually Dvorak's second two syncopations one usually associates with the one for the combination of piano and string Furiant. Its spirited nature at any case dispels all of quartet, the first one (Op. 5 ) also being in the same the melancholy nature of the Dumka, and the key. It is reported that Dvorak created the present remainder of the work will be kept at a lively work after he could not find the manuscript to the mood. first one. Apparently, the composition of this work The Finale, in most respects a straightforward came very easily to Dvorak, the first movement Sonata form, starts with a syncopated introduc­ being written down in about eleven days. tory section, which has the same significance as a This work shows Dvorak in a particularly happy main theme in the movement. There is indeed mood, full of his characteristic melodic inspira­ much use of this four-note string motive, in con­ tion. The cello immediately begins the work with junction with a rapping piano figure; the main an expansive theme; its leisurely pace sets the theme barely passes before one hears this idea tone for the rest of the work. In typical Czech again, with some harmony added. In the develop­ fashion, the second theme, first stated in the viola, ment, one encounters a slightly gratuitous fugal is in a minor key; though also a gentle sort of section, which is however brief; the rest of the theme, its more agitated rhythms contrast sharply movement proceeds to an expected satisfying with the more easygoing opening theme. close.

AUDIO/SLIDE SHOW OF 1990 VIOLIN COMPETITION A twelve-minute slide show about the upcoming 1990 Interna­ tional Violin Competition of Indianapolis has been created by Producers International Corporation and is available for show­ ing to community groups or service organizations statewide. Call the Cathedral Arts office at (317) 637-4574 for more information.

13 Program for SUZUKI AND FRIENDS February 28,1990

WA. MOZART Adagio and Rondo for "armonica," flute, oboe, viola, and cello, K. 617 Zeyda Ruga Suzuki, celesta Karen Moratz, flute Sharon Possick-Lange, oboe Hidetaro Suzuki, viola Sarah Boyer, cello

M. RAVEL Chansons Madecasses for voice, flute/piccolo, cello, and piano Mary Ann Hart, mezzo-soprano Karen Moratz, flute Dennis McCafferty, cello Zeyda Ruga Suzuki, piano

INTERMISSION

O. RESPIGHI II Tramonto (The Sunset) for mezzo-soprano and string quartet Mary Ann Hart, mezzo-soprano Hidetaro Suzuki, Muriel Mikelsons, violin Beverly Scott, viola Dennis McCafferty, cello

F. MENDELSSOHN- Trio for piano, violin and cello in D minor, BARTHOLDY Op. 49 Molto allegro ed agitato Andante con moto tranquillo Scherzo: Leggiero e vivace Finale: Allegro assai appassionato Zeyda. Ruga Suzuki, piano Hidetaro Suzuki, violin Sarah Boyer, cello

14 PROGRAM NOTES instruments, very much under its influence. Both by Hsueh-Yung Shen Ravel and Debussy were already developing a vocal style which approximates very closely the February 28, 1990 natural rhythms of the language; Schoenberg's stylized declamation on certain levels was not that Wolfgang Amadeus Mozart: much different. Particularly after the World War, Adagio and Rondo for "armonica," flute, Ravel's style became considerably leaner and oboe, viola, and cello cleaner, no longer given to great Impressionistic K. 617(1791) waves of sound. The textures in the present work are about as spare as anything Schoenberg or In Mozart's last year, among many other things Stravinsky ever wrote; the bitonal elements are he wrote two works for the celebrated player bolder, almost in the manner of Milhaud. While Marianne Kirchgessner on the "armonica," which Ravel's ear for sonorities still works its magic, the was a set of tuned musical glasses; besides the world of the salons is far away in this work. present work, there was also a solo piece, Adagio One has to marvel at Ravel's economy of instru­ K. 356 (617a). Mozart was obviously counting on mentation in this work, in starting off with just the a sustained quality of sound from those glasses, solo cello with the voice in the opening to create a produced by rubbing the fingers on the moistened feeling of expectation. The piano figure, coincid­ rims; the virtuosity demanded by the present ing with the next phase of the poem, does a simple work must have been formidable for the instru­ juxtaposition of two rhythmic figures, one in ment. For the present performance, the celesta three-beat cycles, the other in five-beat cycles. will be used for this part; even for a normal key­ The sensual nature of the poem is delicately but board instrument, the part is by no means trivial. graphically reflected in the instrumental ensem­ While the occasional nature of this work is clear, ble; the sound of the piccolo in its low register is so is the richness of Mozart's late style. In the striking in this context. contemplative C-minor Adagio, some of the chro­ A much different atmosphere is evoked in the matic harmony starts to foreshadow Schubert, second poem, dealing with betrayal and anger. particularly an unexpected reference to G-flat This movement is probably the darkest in moods major. The Rondo in C major, is a more straightfor­ of anything Ravel ever wrote; the slow accumulat­ ward affair, in the manner of his late piano con­ ing momentum of the various ostinato patterns certi, though the accompanying ensemble is during the course of the bitter narrative is terrify­ deliberately very delicate throughout the piece. ing. As the voice changes quickly to a call for Again, there are many unexpected key changes in revenge, the astonishing use of the flute, blowing this section; one certainly speculates on how full force into its lowest registers, is an extremely more actively Mozart would have influenced the bold stroke; its explosion up two octaves at the Romantics with a few more years. words "poisonous winds" is bracing. The last poem, describing a quiet evening scene, returns once more to the moods of the first poem. Ravel, who is never at a loss for unusual colours, manages in the middle section to make Maurice Ravel: the cello sound like a pair of drums, by plucking in Chansons Madecasses for voice, harmonics. The piccolo returns here to contrib­ flute/piccolo, cello, and piano ute its eerie sound, again mostly in its low range. (1926) While the section perhaps sounds like the wrong part of Africa, it is still nonetheless an impressive The poems for this work are based on a collec­ evocation of the exotic. With all that, the instru­ tion with the same title of Evariste-Desire de mental contribution otherwise is minimal in this Parny, who wrote the collection in 1784-85 while movement, the voice practically declaiming. The in India. Just as Pierre Louys claimed fictitiously whole ending may very well be Ravel's most direct that his poems for the Chansons de Bilitis were a tribute to Schoenberg, in that the handling of the translation from the ancient Greek, Parny claimed very end is very similar to the very end of the that his poems were translations from their pur­ Pierrot Lunaire, with the piano trailing off on a ported Malagasy sources; he had, in fact, never set final cadence, leaving the voice to finish by itself foot in Madagascar. One work which left a profound impression among composers at the time was Schoenberg's Translations: Pierrot Lunaire Op. 21, a work of fantastic nature 1. Nahandove for recitation and an ensemble of five players on eight different instruments. After it came out, Nahandove, o lovely Nahandove! the nocturnal Ravel immediately wrote his Three Poems ofMal- bird has begun its cries, a full moon shines over­ larme (1913), with nine players on those same head, and the evening dew moistens my hair. It is 15 the hour: who can stop you, Nahandove, o lovely pleases my soul; the dance is for me almost as Nahandove? The bed of leaves is made; I have sweet as a kiss. Let your steps be slow, let them strewn it with flowers and sweet-smelling herbs; it imitate the attitudes of pleasure and the giving is worthy of your charms, Nahandove, o lovely into voluptuousness. Nahandove! The evening breeze rises; the moon begins to She comes. I recognized the hurried breathing shine through the mountain trees. Go, and pre­ caused by a fast step; I hear the rustling of the cloth pare the meal. which covers her: it is she, it is Nahandove, the lovely Nahandove! Ottorino Respighi: O regain your breath, my young friend; rest II Tramonto (The Sunset) for mezzo-soprano yourself on my knees. How enchanting is your and string quartet gaze, how the movement of your breast is lively (1914) and delicious under the hand which presses it! You smile, Nahandove, o lovely Nahandove! Your Respighi wrote comparatively little chamber kisses reach the soul; the caresses fire all of my music, most of his efforts being concentrated on senses: stop, or I will die. Does one die of pleasure, orchestral works, particularly symphonic poems o lovely Nahandove? like The Fountains of Rome. It must be remem­ The pleasure passes like lightning; your gentle bered that Italian music at the turn of the century breathing weakens, your moist eyes close, your was only beginning to diversify from the 19th head hangs softly, and your excitement fades into century's almost complete dominance of opera, languor. Never were you so beautiful, Nahandove, and Respighi was one of the earliest Italian com­ o lovely Nahandove! posers since the Romantic period to make his You leave, and I will languish in regrets and reputation in non-operatic forms. desires; I will languish until the evening; you will The present work was originally written for return this evening, Nahandove, o lovely Nahan­ Respighi's wife Fino Savio, a singer, which dove! accounts for the chamber setting. The text is an Italian translation of PB. Shelley's poem "The Sun­ set." While Respighi naturally draws upon aspects 2. Aoua! Aoua! of the Italian vocal style, it also shows the influ­ ence of French song composers like Faure and Aoua! Aoua! Do not trust the whites, dwellers Debussy, in the almost completely syllabic setting on the shore. From our fathers' time, whites came of the poem, and the absence of any of the usual to this island; we told them: here is land; may your operatic rhetoric. What must have been very women work them. Be just, be good, and become unusual for an Italian composer was to restrict the our brothers. entire vocal line of the work to a ninth, right in the The whites promised, and yet they made middle of the vocal range (D to E). The quartet, entrenchments. A menacing fort came up; too, has few sustained loud outbursts, one occur­ thunder was enclosed in bronze mouths; their ring at the very opening of the work; otherwise, it priests wanted to give us a God whom we do not subtly highlights the various emotional affects of know; finally they talked of obedience and slavery: the poem. rather death! The killing was long and terrible; but (The original poem is in English.) despite the thunder which they vomited, and which crushed whole armies, they were all exter­ Already one man has you, in whose ten­ minated. Aoua! Aoua! Do not trust the whites. uous spirit We have seen new tyrants, stronger and more (What light and wind in a delicate cloud numerous, planting their flag on the shore: heaven that a burning of mid-day sky distempers)— has fought for us; it has caused rains, storms, and The death and the genious contented. Oh, poisoned winds to fall on them. They are no more, so much tender joy, that made the and we live, and we live free. Aoua! Aoua! Do not breathing lessen trust the whites, dwellers on the shore. (Such as this is the anxiety of summer's aura at times.) Only then she had known full abandon and 3. II est doux . . . the concord palpitating of two creatures that love one It is pleasant to lie in the heat under a bushy another. tree, and to wait for the evening breeze to bring He adduced among the paths of a coolness. Women, draw near. While I rest hear meadow, to the east by a forest under a bushy tree, fill my ear with your drawn- of whitening shadows and on the west, the out tones; repeat the song of the young girl while open sky. she plaits the matting, or when, seated by the rice, The sun is now submerged, but the golden she chases away the greedy birds. The song skies hang over the 16 ashen clouds — over the green plain, over Felix Mendelssohn-Bartholdy: the trembling flowers. Trio for piano, violin and cello in Over the gray globes of the ancient smir- D minor nius, and the dark woods Op. 49(1839) surrounding — mingling in the shadows at vesper time. The swift evolution of the piano in the early The burning moon slowly rises in the 19th century produced a drastic change in the east among the branches of the nature of the pieces composed for that instru­ dark plants. ment. In the time of Haydn and Mozart, the piano's Brilliant overhead are the languid stars, touch and tone was comparable to that of a harpsichord. By Mendelssohn's time, the piano and the young man whispers: was roughly midway between a harpsichord-like "Is it not strange? I have not seen the instrument and the big modern piano. The advent rising of the sun. of the "new improved" piano, as well as the grow­ Oh, Isabella, tomorrow, to contemplate ing frequency of public concerts, meant that the it, we'll come together." piano now was supposed to provide the same kind The youth and his lady sprawled, and of thrills as an orchestra; one of the aims of newly they lay betwixt sleep and developed techniques for the new instrument was the sweet love conjointly in the night. clearly to simulate the variety and range of orches­ In the morning, gelid and dead she found tral expression. her lover. Oh — no one could strike such a bolt! It The bigger instrument makes possible works of was a merciful God. true symphonic breadth in the solo and chamber The lady did not die, neither became one repertoire involving the piano. In this work, one indeed has the impression of some sort of hybrid of folly. symphony-piano concerto, at least in the outer Yet, year by year she lived. But, I think her movements. By this time, Beethoven's dramatic quiet patience and nature is fully assimilated into the prevailing style. her trepid smiles, and not dying, but she Particularly in a minor-mode piece, one expects did go on living in the some kind of storm to come out of the music, if not custody of her aged father. some kind of heavy emotion. On the other hand, not everyone had Beethoven's intrinsically If it's the folly of the world to dissimulate, rebellious nature, and Mendelssohn, being most would it be folly? concerned with Classic elegance, was no rebel. It was nothing else than to see her, like And so one gets in the outer movements a picture reading a chant from an ingenious of a nice, well-behaved, and well-proportioned Bard, storm. The cello beginning the work quietly at Its texture enfolding gelid hearts in a pain­ first, one soon gets cascades of piano figurations in ful thought. great abundance. Dark are the eyes, but dazzling no more. Almost conjoined by the tears, As usual with many of Mendelssohn's works, the were the lashes. middle movements contain what is truly charac­ The lips and the cheeks were seemingly teristic of him. The lyricism of the slow movement makes it allied with his numerous Songs Without dead, for so white they were; Words for piano solo. While the sense of line And limber were the hands and the errant comes from the Italian bel canto singing style, the veins and the joints of the fingers. harmonic sensibility is of a kind that the Italians The red glare of the day transpired; the themselves were to pick up later, from predomi­ naked tomb that your frail body nantly German models. re-encloses, in which night and day, a tormented shadow inhabits. Mendelssohn is always happiest when he slips And whatever you say remains, oh dear, lost into his "fairy" vein, and the Scherzo is no excep­ creature! tion. Ever since he wrote the Midsummer Night's Oh, such ancestry that the earth does not Dream overture, the evocation of "fairy magic" in give; calm and silent, without sin his Scherzo movements is something of a specialty with him. This movement perhaps comes closest and without passion. to the true spirit of chamber music, with the trans­ Be it that the dead again finds (not ever the parent use of the three instruments, and it cer­ sleep) but the rest, imperturbed tainly provides great challenges for its proper as they appear, or living — execution. Oh, of love, in the profound sea they'll In the Finale, the storm returns again, this time descend. beginning quietly with the piano. In true Classic Oh, that my epitaph — that yours, too, will fashion, the storm eventually resolves very be — PEACE. brightly, as the movement near the end changes This, from her lips, was the only lament. towards the key of D major, bringing the work to its expected triumphal close. At Paige's Music FULL SERVICE means...

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18 Program for SUZUKI & FRIENDS March 28, 1990

F. SCHUBERT Introduction and Variations on "Trockne Blumen"for flute and piano, Op. 160, D. 802 Carol Wincenc, flute Zeyda Ruga Suzuki, piano

C. DEBUSSY Sonata for flute, viola, and harp Pastorale: Lento, dolce rubato Interlude: Tempo di Minuetto Finale: Allegro moderato ma risoluto Carol Wincenc, flute Hidetaro Suzuki, viola Maria Casale, harp

INTERMISSION

J. BRAHMS Sextet No. 1 for strings in B-flat major, Op. 18 Allegro, ma non troppo Andante, ma moderato Scherzo: Allegro molto Rondo: Poco Allegretto e grazioso Hidetaro Suzuki, Muriel Mikelsons, violin Beverly Scott, Nancy Agres, viola Sarah Boyer, Dennis McCafferty, cello

PROGRAM NOTES The present work is based upon one of the Lieder of Die Schone Miillerin (The Beautiful Mil­ by Hsueh-Yung Shen ler-maid), written shortly before this time. Like March 28, 1990 Schubert's other great song-cycle, Winterreise (Winter Journey), the subject matter is unfulfilled Franz Schubert: love. "TrockneBlumen" {Dried Flowers) speaks of Introduction and Variations on the flowers the Miller-maid once gave the Miller, "Trockne Blumen" for flute and piano the protagonist of the song-cycle, and how the Op. 160, D. 802(1824) Miller, who by this time is feeling quite suicidal, The circumstances of this work were most thinks the flowers should be buried with him in his likely connected with informal music-making grave. His fantasy is that when the springtime events among Schubert's close circle of friends; comes, the flowers will all bloom again, and many of his hundreds of Lieder were first pre­ should his former love wander by, she will be sented in those surroundings. Not surprising, reminded of his love when she sees the flowers. quite a few of his chamber music make references As the intent of this work seems to be providing to his Lieder. a bravura showpiece based upon a familiar tune, 19 the emotional content of the original Leid is not The neo-Classic tendency shows in the second consistently sustained, and, in fact, becomes less movement, which, despite its Tempo di Minuetto and less important as the variations proceed. Nev­ marking, has more of a feeling of the Baroque ertheless, the Introduction is as sober and pro­ Sarabande. A different sort of archaic effect is the found as anything Schubert ever •wrote, with an modal references to the melody and harmony, opening figure reminiscent of Death and the something Debussy may have picked up from Maiden. A religious aspect occurs later in the Faure. Composers apparently tend toward modal Introduction, with organ-like imitative counter­ references when trying to emulate what they point. One indeed has the feeling that the pro­ thought were the ancient Greek style; Debussy tagonist already died before the Lied begins. certainly had a fascination with the ancient Greek The bravura aspect of the work gradually asserts myths, which showed in many of his earlier works. itself towards the latter part of the first variation, The second theme, however, is back to the earlier and is in full swing in the second, with a real Impressionism; its appearances highlight the few endurance test for the piano left hand in its end­ times in the work Debussy indulges in typical harp less stream of running octaves. Schubert's lyric effects like glissando and sweeping broken- aspect regains the upper hand in the major-mode chords. third variation, but the bravura aspect from the The Finale has a more resolute character, and fourth variation on dominates the rest of the work. therefore has more continuous lines and rhythms. The fifth variation is the flashiest for the flute, The second theme is probably the most modern- coming after a time when the piano threatened to sounding part of the work, with its bi-tonality of C take the spotlight for itself The seventh and final major (actually the D Dorian modal scale) against variation is an all-out romp for both instruments, the notes of an A-flat dominant chord (C-G flat-A in which the original sober intent of the Lied is flat). Later references to this theme, however, elim­ just a bad memory. Perhaps if one had to relate the inates the bi-tonal aspect. The main theme of the latter part of this work to the original Lied, one opening movement makes an unexpected could possibly say that it represents the poetic appearance, just before the coda finishes the work situation from the flowers' point of view. with a definite cadence.

Claude Debussy: Sonata for flute, viola and harp Johannes Brahms: (1915) Sextet No. 1 for strings in B-flat major In Debussy's last years he had planned a series of Op. 18(1860) six chamber sonatas, of various combinations of instruments. Only three sonatas were completed, Brahms wrote much chamber music involving the first, for cello and piano, the present second strings; the two string sextets are among the finest one, and the third for violin and piano. works in the repertoire for this combination. The While the instrumentation of this work is some­ richness provided by the pairs of violas and celli what unusual, Debussy, in his earlier incidental play right into Brahms' fondness for low-to-middle music to Les Chansons de Bilitis, had already made register sonorities. Not only are many of the melo­ use of similar colours with an ensemble of two dies assigned to those instruments in the course of flutes, two harps, and celesta. There was also the the work, the lower strings also provide Brahms' solo flute piece Syrinx of 1912, which influenced characteristic lush harmonic background. greatly wind writing in the Modern period. One The first cello indeed has a leading role on this certainly notices the extreme delicacy of the work, introducing the two main themes of the first sonorities of the present ensemble. However, movement, as well as the main themes in the Debussy in his late style was beginning to have Rondo Finale. Brahms' intense lyricism is immedi­ neo-Classic tendencies, moving away from the ately evident from the beginning of the work, earlier impression. where his typical long lines in the melodies are Debussy still has the habit in this work of begin­ featured prominently. At the same time, the mov­ ning with a mystery, and at least initially to work ing bass line in the second cello shows Brahms' with fragmentary melodic lines. As the work pro­ concern about a Classic sense of poise and move­ ceeds, the lines get better defined; the first move­ ment. Among the late Romantic composers, ment is arguably the closest in spirit to his earlier Brahms has arguably the strongest neo-Classic Impressionist style, in the constant evasion of the tendencies, modeling his procedures after Bach, continuous line. The effect is even stronger with Mozart, and Beethoven in terms of structure and the present ensemble than in his piano or orches­ harmonic movement. There are more than a few tral works, as the textures are much sparser, emu­ casual echoes of the Beethoven Op 18 string quar­ lating more his earlier solo flute piece. tets in this work.

20 Mozart is evoked in the variation slow move­ One is back in Beethoven's world in the Sche­ ment, despite the somewhat Hungarian flavour of rzo, where one hears an almost direct reference to the theme. One is reminded of a similar variation the Trio of Beethoven's Scherzo movement of the set in the slow movement of Mozart's Violin Sonata Fifth Symphony. The sheer exuberance of the Trio in F major, K. 377 (374e), which also has a D- section in this work is definitely young Brahms; minor theme with a steady quarter-note accom­ one is apt to see less of this in his mature style. paniment. (Mozart's theme has more of a vaguely The main theme of the Rondo mostly features Turkish flavour, something very fashionable in its much trading back-and-forth between the lower time.) Moreover, both variation sets feature pro­ and upper strings; in particular, the first cello and gressively faster note-values in the first few varia­ the first violin trade off the melody line. In the final tions, in the time- honoured Classic fashion. Both return of the main theme, this antiphonal nature is variations sets also get to D major as a contrast, developed further, with the lower and upper though Brahms gives two variations in this key to strings alternating every measure in pointillistic Mozart's one. Striking is Brahms's use of the fashion. In the Modern period, this procedure was Baroque musette device in the fifth variation, the to become characteristic of composers like Anton use of pedal-points in the violas. Webern. The ending follows Classic models with a quickened Coda, rounded off by brisk chords.

21 Program for SUZUKI & FRIENDS April 25,1990

J.HAYDN Trio for piano, violin and cello in E-flat minor, Hob. XV:31 Andante cantabile * Allegro Zeyda Ruga Suzuki, piano • Hidetaro Suzuki, violin Marjorie Hanna, cello

J. TOWER Noon Dance for flute, clarinet, violin, ceflo, per­ cussion and piano Anne Reynolds, flute, alto flute, piccolo Michael Borschel, clarinet Konstantin Umansky, violin Jiro Yamaguchi, cello John Kasica, percussion Zeyda Ruga Suzuki, piano Hidetaro Suzuki, conductor

INTERMISSION

B. KOLB Homage to Keith Jarrett and Gary Burton for flute and vibraphone Anne Reynolds, flute John Kasica, vibraphone

G. FAURE Quartet for piano, violin, viola and cello in C minor, Op. 15 Allegro molto moderato Scherzo: Allegro vivo Adagio * Allegro molto Zeyda Ruga Suzuki, piano . Hidetaro Suzuki, violin Beverly Scott, viola Marjorie Hanna, cello

22 PROGRAM NOTES There is also a reference to B (C-flat) major in the middle of this movement; this may have prompted by Hsu eh Yung Shen Haydn with the idea of writing the introductory April 25, 1990 movement in the minor key.

Franz Josef Haydn: Trio for piano, violin and Joan Tower: cello in E-flat minor Noon Dance for flute, clarinet, Hob. XV:31(1794-95) violin, cello, percussion and piano (1982) The piano trios of Haydn represent, after the string quartets, the next most important chamber Noon Dance, completed in December of 1982, music from one of the most varied of Classic com­ is dedicated to COLLAGE (a Boston area new posers. His long span of 77 years meant that he music ensemble ), who commissioned it with sup­ grew up at the end of the Baroque era, and saw the port of a grant from the Massachusetts Council on Romantic era in full bloom. Not only did he keep the Arts and Humanities. up with changing styles during his lifetime, he was The word "noon" in the title refers to this piece part of the changing styles almost every step of the as a sequel to an earlier piece, Breakfast Rhythms, way. He was to compose for at least twelve more written in 1974, which has the same instrumenta­ years after Mozart died in 1791, producing along tion of flute, clarinet, violin, cello, piano, and per­ the way the late London symphonies, the last six cussion, the only difference being the doubling on masses, and the two oratorios The Creation and alto flute and piccolo, and the choice of percus­ The Seasons. sion instruments (in this piece Glockenspiel, The performance of the Haydn piano trios, at Vibraphone, Marimba, and three suspended cym­ least on modern instruments, has always been bals). While there are some dance-type rhythms somewhat problematic in that the works were in the piece, the real impetus for the choice of the clearly conceived as piano sonatas with string word "dance" in the title comes from my idea of accompaniment, and were originally published as how close chamber music is to dancing; how play­ such. In particular, the cello parts tend to double ers "move" with each other, sometimes following the bass line of the piano like a basso continuo. or leading, other times blending different kinds of something quite appropriate for the lighter older energies in the pacing of sections. In sum, how instruments, but somewhat ungrateful for modern they "choreograph" that piece. Noon Dance is a ones. As a result, only true chamber music enthu­ piece that explores some of these "movements." siasts ever get past the two or three most often played trios in Haydn's output; Haydn is certainly Notes by Joan Tower no less inventive and stirring in these works than in his quartets and symphonies. Barbara Kolb: The key of this work, E-flat minor, is already Homage to Keith Jarrett and highly unusual; Mozart rarely used this key, except Gary Burton for flute and vibraphone in passing. Haydn in any case had a stronger (1976) experimental streak than Mozart, particularly in the use of harmony. However, Haydn rarely suc­ When asked to write a short work for cumbs to the sort of lugubriousness that this key vibraphone and flute by the Music Teachers' normally inspires in composers, and in fact, the National Association in 1976, it occurred to me opening movement immediately has a contrasting that this ensemble would lend itself well to jazz. At section in major, starting with the original theme the time, I had become extremely interested in in inverted form. The middle section has a sur­ the music of Keith Jarrett, and wanted to express prise, a sudden shift to B (C-flat) major, the kind of myself in a similar style, in spite of never having action which foreshadows Beethoven and had any direct experience in jazz improvisation In Schubert. addition, my entire musical education had been The second and final movement of this work has influenced by the "masters," and I felt a need to be an interesting history. It was actually composed uninhibited and free from this disciplined back­ first, as a separate piece entitled "Jacob's Dream." ground. Since it was difficult for me to conceive of Apparently, the biblical reference had to do with a a work for this combination in the style which I certain amateur violinist of Haydn's acquaintance had learned, and in which I had come to express who liked to play high notes; the violin part duly myself, I decided to trespass on new and goes up somewhat higher than normal in the unfamiliar territory. piano trios (though not as high as some of the "Homage . . ." is based on a thirty-second quartets). In other respects, the movement is a improvisation of a tune entitled Grow Your Own concise and spirited Rondo, in the major key. (an early song of Jarrett), which I literally stole

23 from the record. Having this skeletal outline, I another degree. One also sees a strong modal thus worked my material around that of Jarrett's, influence, evident from the very start with an creating a potpourri of Jarrett, Kolb, and remi- opening theme which in the context of C minor niscenses of my past. has a strong B-flat in the melody. In retrospect, N.B. The music should not be taken too many of the elements which were to form seriously, but should be appreciated for its Debussy's more radical style are already present in directness and immediate appeal. Faure. While the major works in Faure's early period Notes by Barbara Kolb are generally more extroverted than his late works, one also sees him favouring continuous Gabriel Faure: textures over obviously dramatic gestures. Quartet for piano, violin, viola and Copland compares Faure to Brahms, but even cello in C minor Brahms still has a punchy streak absent in Faure. Op. 15(1876-83) When Faure is feeling expansive and intense, the effect is more of a slow burn versus a violent In French music of the late Romantic period, upheaval. In Faure's own way, there is a neo-Classic there appears to be a sharp dichotomy between approach to his writing, which is also in accor­ those composers who concentrated on opera and dance with the French pre-occupation of "rea­ ballet, such as Gounod and Massenet, and a more soned good taste." His avoidance of showy effects self-conscious group specializing in songs and frequently masks the radical nature of his har­ smaller forms, which includes Faure, Chausson, monic adventures. Duparc, and Debussy. One major factor in French The light moment of this work is clearly the musical life was the presence of artistic salons and Scherzo, whose light and frothy nature certainly private musical societies. While the hothouse makes one think of Saint-Saens, Bizet, and maybe environment of these salons was unmistakable, even Offenbach. The unusual aspect is the general they at least enabled these composers to experi­ use of three-bar phrases, which contributes to the ment boldly in musical language, which had far- great sense of direction in this movement. reaching consequences for the Modern period. An The slow movement is in Faure's most serious important pupil of Faure was Nadia Boulanger, elegiac vein, something which he evoked again in whose influence continues to be felt to this day. the Elegie for cello. The intensity of the main The strongest characteristic of Faure's style is melody, also begun by the cello, is heightened as certainly his harmony, which, while chromatic as all three string instruments join in unison at the Wagner, has a distinctly different flavour from that melody's high points. of Wagner. There is some similarity to aspects of The Finale is a straightforward affair, with the Russian music of the time, which after all tended piano providing a steady accompaniment in to emulate French ways from the start. While triplet eighth-notes for the most part. The very Faure uses the same types of chords that everyone steadiness of the accompaniment, however, pro­ else at the time used, the contexts of these chords vides its own momentum, building slowly. Rather are more flexible. A chord such as dominant sev­ unusual for Faure, there is a dramatic pause in the enth (G-B-D-F), normally found on the fifth middle of the recap; this sets in motion one final degree of any given scale, can easily occur on build-up towards the end.

24 Program for SUZUKI & FRIENDS May 23, 1990

H.Y. SHEN Humoresque for fifteen players

WA. MOZART Serenade No. 7 in D major, "Hafmer," K. 250 Allegro maestoso — Allegro molto Andante Menuetto Rondo: Allegro

INTERMISSION

Menuetto galante Andante Menuetto Adagio — Allegro assai

(Musicians to be announced.)

25 PROGRAM NOTES Wolfgang Amadeus Mozart: Serenade No. 7 in D major, "Haffner," by Hsueh-Yung Shen, K. 250(1776) May 23, 1990 The various Serenades and Divertimenti of Mozart were meant primarily as background Hsueh-Yung Shen: music for his court employers, which accounts for Humoresque for fifteen players the six or more movements of some of these (1984, revised 1986) works. The present work is most likely the longest The scoring of this work for clarinet, percus­ of these works, with eight movements. Quite sion, fortepiano or harpsichord, and twelve clearly, these were not works one would have strings, is modeled after a number of chamber been expected to sit down and listen to their orchestral works of Witold Lutoslawski, such as entirety, unlike, for example, a Mahler symphony. Paroles tissees, Preludes and Fugue, and the Con­ The present work in particular is in effect two certo for oboe and harp. The keyboard part neces­ works under one roof for Mozart had also made a sitates the use of a small orchestra; the clarinet was five-movement version as a symphony out of this chosen as the sole wind instrument for its enor­ work, skipping the three concertante movements mous versatility of colour and range. The work with the violin solo. As one has both a full-length was first performed in 1986 with the Brooklyn symphony and a substantial violin concerto at the Philharmonic under Lukas Foss. same time, it makes much practical as well as musical sense to have an intermission after the The character of this work is modeled after concertante movements, as the present perfor­ certain musico-dramatic works of Peter Maxwell mance does. Incidentally one should not confuse Davis, particularly in the strong individual treat­ this work with the so-called "Haffner" Symphony, ment of the three solo instruments, and the fre­ K 385, which also happens to be in the same key. quent juxtaposition of diverse musical styles. A drama indeed unfolds with the three soloists gen­ The idea of having concertante movements in erally treated as main characters. The strings have the middle of a serenade is not an unusual one; the at least two sections where they have the main "Posthorn" Serenade K. 320 has similarly two interest, a late-romantic sentimental interlude, concertante movements, featuring the wood­ and an extended fugal section. The keyboard part winds. One sees that the arrangement of move­ is almost always used as an evocation of earlier ments in a Serenade or Divertimento (the two common practice styles, albeit somewhat trans­ terms refer to similar works) is quite flexible. The formed at times. first and last movements are exactly as one would The subject of this drama is the somewhat find in a symphony, though sometimes there also uneasy relationship the composer has with the is an entrance and an exit march at the very begin­ academic environment, as this is where com­ ning and end (the March K. 249 is sometimes posers generally earn their living in present times. played to precede this work). There is always a To this end, a real drama, in fact, served as back­ minuet movement, if not two minuets (the pre­ ground to this work, Eugene Ionesco's play La sent work has three!). There is always at least one Lecon (The Lesson), in which an old professor, movement between the minuet movements. One while giving a lesson to a student, eventually kills can easily fill any amount of time with this sort of that student. Many of the various musical styles arrangement. evoked in this work is seen as one generally meets The first movement, as normal in a Classic work, them "at school," making it a flip side of the more is musically the most substantial. The unusual congenial atmosphere one associates with, for aspect about this movement is that it has an intro­ example, Brahms' Academic Festival Overture. ductory section, which one does not realize is an Formally, the work is bounded by a G tonal introduction until the main section begins in a centre at both the beginning and the end, which in faster tempo. The next surprise is that the theme both cases functions as the fifth degree, or domi­ of the introduction recurs in the main section, nant, of the key of C major. (This composer fre­ almost from the outset. quently likes to end pieces on the dominant of the The next three movements feature the solo vio­ expected key.) The C major material is much dis­ lin. The distribution of the winds is different in torted at the beginning of the work, but is much these movements, with the addition of flutes. The more clarified at the end. A particular train of initial entrance of the violin is quite magical, par­ thought is invariably interrupted by an entirely ticularly if one does not realize that it is going to different idea, the disjunct nature frequently con­ be a concerto movement. In the Minuet move­ tributing to the humour of the piece. ment, the orchestra has the main Minuet section,

26 in the more severe key of G minor. The Trio sec­ In between the two Minuets is a broadly based tion, by contrast, features the solo violin with just slow movement in Rondo form. The oboe has a the wind section, in a brighter G major. The Rondo few solo moments in the second theme of this is a real whirlwind movement, with true virtuoso movement. The main theme, typical in a Rondo, is writing for the solo violin. treated in variation each time it recurs. The Symphony part of the work resumes with a The Finale is a straightforward Sonata form with "Menuetto galante." This is a slow-paced minuet, a slow introduction. The main section abounds in which is in contrast to an earthier, somewhat Italian-style dramatics, including sudden erup­ faster Minuet two movements later. The latter Min­ tions, block chords, unison passages, and a few uet also sports an amusing Trio featuring soft slithering chromatic scales. trumpet fanfares.

INDIANAPOLIS AMBASSADORS

Cathedral Arts greatly appreciates the generous support of the Indianap­ olis Ambassadors, a young professionals service organization, whose members offer valuable volunteer time to staff the box office, to usher and to stage manage Suzuki & Friends during the 1989/90 season.

Merle Alfonso Betty Landis Marianne Blaud Annette Long Julie Brandon Tim Maginn Linda Carlen Anthony Malone Lorrie Chandler Tony Mcllvenna Greg Colton Jane Pepper Jeanne Davis Shirley Priebe David Francis Julie Radkovic Kevin Gartenhaus Barb Riney Glenna Greever Pam Roberts Kayleen Haggerty Carol Roth Heidi Haygood Laura Saulnier Jeff Jones Patty Simpson Cindy Kalapach Sharon Thompson Leanne Lafuze Lisa Vandenburg

27 A SHORT HISTORY OF CATHEDRAL ARTS, INC.

Cathedral Arts, Inc., a not-for-profit organization founded in 1969 and incorporated in 1971, is dedicated to the promotion of the careers of young artists, as well as to the revitalization and cultural enrichment of downtown Indianapolis. Cathedral Arts has grown into an organization that presents a wide range of arts-related activities throughout the city and state. The most challenging and ambitious endeavor undertaken by Cathedral Arts, involving almost 1,000 volunteers from the community, is the quadrennial INTERNATIONAL VIOLIN COMPETITION OF INDIANAPOLIS. First held in September of 1982 and again in 1986, this event brings world-wide recognition and cultural acclaim to our city. American Public Radio beams the Competition by satellite allowing over 15 million Americans to participate in the excitement of those two weeks. The 1982 television documentary, which aired nationally on PBS, won four prestigious national awards. And in 1986 the British Broadcasting Corporation syndicated major portions of the Competition, airing a 7-part weekly special. The 1990 Competition, to be held August 31 to September 16, promises to be an even greater event of international impact. One of the most far-reaching arts projects in the state's history, expected to involve 50,000 school children throughout the state, will take place during school year 1989/90. Made possible by a major grant from Indiana Bell, the JURIED EXHIBITION OF STUDENT ARF is held in conjunction with the International Violin Competition of Indianapolis. All students of Indiana are invited to participate in the program which will award over 515,000 in prizes to outstanding artists and their schools. Probably the most popular annual event presented by Cathedral Arts is the MIDSUMMER FES­ TIVAL to be held on June 23, 1990 on Monument Circle to celebrate the summer solstice. Continuous entertainment on four stages and culinary delights prepared by the city's best restau­ rants draw over 25,000 persons to the Circle each year for Indiana's largest festival of contemporary music. Cathedral Arts also presents the finest in cultural programming. It is fortunate to have the co- sponsorship of civic-minded members of the business community in presenting the 1989/90 "Triple Concerto" season of chamber music. Indianapolis' premier chamber ensemble, SUZUKI & FRIENDS, is underwritten by the law firm of Locke Reynolds Boyd & Weisell and Paige's Music and performs at The Children's Museum on six Wednesday evenings, September through May. The RONEN CHAM­ BER ENSEMBLE, co-sponsored by Goodman Jewelers, performs the great works of the wind repertory in the Green Room of the Circle Theatre on four Tuesday evenings, October through May. THE GOLD MEDAL RECITAL, featuring Kyoko Takezawa, gold medalist of the 1986 International Violin Competition of Indianapolis, was held September 17 at the Meridian Street United Methodist Church. In its statewide outreach, Cathedral Arts has agreed to produce the centennial of Cole Porter's birth in 1991. Born in Peru, Indiana, Cole Porter became one of the legendary composers of Broadway with such hit shows as Anything Goes, Can-Can, and Kiss Me Kate,among others. With the participation and support of Cole Porter's family, Cathedral Arts is planning a year-long celebration throughout the state that will include gala concerts, a film festival, exhibitions, and a television documentary. In twenty years, Cathedral Arts has grown into a diverse organization that mixes broadly popular events and the highest artistic achievements to put Indianapolis on the cultural map of the world.

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Chris J. Christy, President

L. Alan Whaley Paul G. Pitz Vice President of Programming Vice President of Planning Thomas A. Flynn Carolyn C. Griffith Vice President of Special Events Secretary

Lawrence E. Moran Treasurer

Cornelius M. Alig Charles N. Knox Anne Slaughter Andrew Robert H. Mohlman William A. Brennan, HI Thomas R. Neal Hormoz K. Broumand Diana B, Nering Alan S. Brown Warner H. Paige H. Patrick Callahan Andrew J. Paine, Jr. James L. Conn Sylvia G. Peacock William S. Connor E. Lynn Plaster James S. Cunning John W Purcell Carolyn C. Davis Alice M. Ross D. Alan Day Rebecca M.Shanahan M. Rosalie Ferguson Ann M. Stack John M. Hamilton John B. Swarbrick, Jr. Carolyn S. Hardman James S. Telfer Frances B.Julian Anna S. White

ADMINISTRATION

Thomas J. Beczkiewicz, Executive Director Helen H. Small, Director of Operations Cathy S. Sprunger, Administrative Assistant

With the support of the Indiana Arts Commission and National Endowment (or the Arts.

This program is supported by the City of Indianapolis through the Arts Council of Indianapolis.

For future opportunities to advertise in our printed programs, please contact our Program Advertis­ ing Manager, Nancy Burris at 253-5845.

Cathedral Arts, Inc. 47 S. Pennsylvania, Suite 401 Indianapolis, IN 46204 317/637-4574