ARTIST PROFILE

Now in its 23rd year, the Gryphon in Cooperation with Pacific’s Conservatory of Music present Trio has impressed international audiences and the press with its highly refined, dynamic performances Gryphon Trio and has firmly established itself as one of the world’s preeminent ANNALEE PATIPATANAKOON, ROMAN BORYS, trios. With a repertoire that ranges JAMES PARKER, piano from traditional to the contemporary and from European classicism to 2 : 3 0 PM , Sunday, November 12, 2017 modern-day multimedia, the Faye Spanos Concert Hall University of the Pacific Gryphons are committed to redefining chamber music for the twenty-first century. The Trio tours regularly throughout and and their TRIO IN A MAJOR, NO. 32, XV:18 (1793) 17 recordings are an encyclopedia (1732–1809) Allegro moderato of works for the genre. They have Andante— commissioned over 75 new works, Allegro and regularly collaborate on projects that push the boundaries of chamber music. Honors include two Juno Awards for Classical Album of the ARNOLD SCHOENBERG VERKLÄRTE NACHT, OP. 4 (1899, T1932) Year, and the prestigious 2013 (1874–1951) Walter Carsen Prize for Excellence in the Performing Arts from the Council. — INTERMISSION — Deeply committed to the education of the next generation of audiences and performers alike, the Gryphons JOHANNES BRAHMS NO. 1 IN B MAJOR, OP. 8 (1854, R1889) frequently conduct masterclasses (1833–1897) Allegro con brio–Tranquillo–In tempo ma sempre and workshops at universities and sostenuto conservatories, and are Artists-in- Scherzo: Allegro molto–Meno allegro–Tempo Residence at the University of primo ’s Faculty of Music and Adagio Trinity College. Finale: Allegro Roman Borys is Artistic Director

MKI Artists of ’s Chamberfest. Annalee One Lawson Lane, Suite 320 Burlington, VT 05401 Patipatanakoon and Jamie Parker Voice: (802) 658-2592 Fax: (802) 735-2465. [email protected] serve as the festival’s Artistic Advisors in addition to responsibilities Gryphontrio.com at the Faculty of Music, where Mr. Parker is Season Sponsor: C. A. Webster Foundation Rupert E. Edwards Chair in Piano Performance and Ms. Patipatanakoon is Associate Professor of Violin. Haydn: Trio in A Major The earliest trio work dates from 1784 Schoenberg: Verklärte Nacht Born in 1732 in the village of Rohrau, and the last from 1797. His earlier trios, Verklärte Nacht was composed near the modern border between probably for the rising number of when there was fierce rivalry amid Austria and Slovakia, Franz Josef amateur musicians, were usually in only the Wagner/Liszt camp and the Haydn, the son of a very musical two movements and of no great supporters of Brahms. This was also wheelwright and a mother who cooked difficulty. The London trios, conversely, the zenith of Richard Strauss’ for nobility, began his musical life when are much more advanced composition; orchestral symphonic poems. he went to live with his father’s relative, they are in three movements and show Schoenberg unites Wagner’s Johann Mathias Franck at the age of greater originality and instrumental chromaticism, Strauss’ programmatic five or six, where there were much balance than the earlier trios. element and Brahms’ technique of better opportunities to develop his This piece is a good example of “developing variation” to produce the obvious musical talents. He would be Haydn's late trios. The Allegro moderato first chamber music tone poem. grateful to Franck as reported by an opens with three forceful cadential If you are expecting to hear a early biographer as saying “thankful introductory chords,1 then instantly horribly atonal dissonant modernist even in the grave, that he taught me so settles into the flowing cantabile mood twelve-tone iconoclastic piece from much, though in the process I received that marks the entire movement. The one of the major founders of the more beatings than food.” music remains fairly gentle throughout Second Viennese School designed At eight he was recruited as a this movement, and the harmonic to do away with Romanticism using choirboy in Vienna: but when his voice freedom of Haydn's writing is particularly tonally chromatic expressionism, changed at 18, he was suddenly out on remarkable, especially in the highly modulation, dissonance and the street. Life was very difficult at first, contrapuntal development, where the unorthodox harmonies you are in for but he worked hard, met a lot of valuable music flows smoothly among startling an immense disappointment. people, and rose in the musical sphere keys. The notion that Schoenberg’s early through performance and composition. The middle movement is a simple music is much more accessible than In 1761 Haydn became Vice- ternary Andante in ABA form that moves his later work is actually ironic. Kapellmeister for the Esterházy family, along steadily in its 6/8 meter. After the Violent hostility accompanied the the richest among Hungarian nobles, genial opening movement, the A-minor 1902 premier of Verklärte Nacht in and was promoted to Kapellmeister in tonality here sounds subdued; listen for Vienna: it was attended by hissing, 1766. Upon Paul Anton’s death in 1772 the interesting pizzicato chords. The fist fights and riots, with one critic comparing the string sextet to “the his brother Nicolaus succeeded him and lyric central episode, however, returns sort of six-legged calf one might see though not a music lover, kept Haydn to A major. Without pause, Haydn in a side-show!” on at full salary. proceeds directly into the joyous The piece, written in just three When Prince Nicolaus died in 1790 concluding Allegro finale. Listen for the weeks in 1899, illustrates a desolate Haydn visited London at the invitation of frequent syncopations, a polonaise-like poem from Weib und Welt (“Woman the violinist-impresario Salomon where rhythm, and chirping grace notes that and World”) by Richard Dehmel. Part he already delighted in a significant promote the lively spirits of this movement that gambols enthusiastically of the concert controversy was due reputation. Part of the invitation included to use of Dehmel’s poem as muse, to the cheerful close. an offer to write several large pieces as showing concern about the situation Haydn was in London for a second well as chamber music including four of the woman in the story. Part was time in 1794 and 1795, after which he groups of trios. due to the highly advanced harmonic returned to part-time duty with the Haydn's early keyboard music was idiom that contained a single point of Esterházy family, now chiefly at the written for harpsichord, but by the late controversy that delayed the premier family residence in Eisenstädt just 30 1790s he was writing music with three years: use of a solitary non- miles from Vienna, where he had dynamic markings that could be existent2 inverted 9th chord, to which achieved only on the piano. Haydn’s started his career. Much of each year, Schoenberg retorted “thus it cannot keyboard trios are usually accompanied was spent in Vienna, where he finished be performed since one cannot by violin and cello. his final years, dying as the city fell yet perform that which does not exist.” again into the power of Napoleon’s army.

1 Pay attention! 2 Uncategorized and therefore “forbidden” by the Vienna Music Society The poem is in five sections and while Brahms: Piano Trio in B Major like it, you like Brahms; if you do not, the music follows this format, there is no In April 1853, the nearly twenty-one- you may someday.” The second formal break in performance. In the first year-old Johannes Brahms left his native subject is his sole replacement for section two lovers walk in desolate Hamburg for a concert tour of Germany. several minor themes discarded moonlight. In the second the woman The following month in Hanover he met throughout the original. confesses she is pregnant but the child is the violinist Joseph Joachim, who gave The Scherzo is created by not his. She gazes despondently at the him several letters of introduction alternating a sharp and vigorous moon in the third. The man responds in including one to the Robert and Clara melody, announced at the onset by the fourth, forgiving her and saying the Schumann. On the last day of the cello, and a lovely trio melody that child will transfigure and become his September 1853, Brahms met the should remind you of folk-music”. own. In the final section their breath Schumanns for the first time and was The third movement, an Adagio, kisses in the frozen air and they continue received as though “sent straight from launches with a broad and modest to walk together in the now no longer God.” The instant and generous choral-like subject for the piano alone desolate moonlit night. friendship led to Robert Schumann’s followed by the violin and cello The music echoes the transcendent fulsome prophecies for Germany’s new unaccompanied. A second subject is transfiguration inferred by the poem, rising star (he called him a soaring eagle). assigned to the cello, and shortly beginning lugubriously and becoming in Working in 1854 under this “execration”, thereafter repeated by the violin. turn agitated, compassionate and he decided to publish his first chamber The finale, an Allegro, kicks off with ecstatic. Less than a year before his composition. Brahms, the brutal self- a hearty cello phrase which is the death, Schoenberg wrote his own note critic, had already sent several chamber basic wherewithal of the movement citing musical phrases and motifs that works up in smoke and may have unusually ending a work begun in represent specific parts of the lovers' thought to do so with this piece as he major with a movement in minor tonal. conversation and indicating that the returned to it 35 years later. Lesser thematic matter promotes the work's two larger divisions break down This piece is unique among Brahms’ deeply spirited character of the into smaller ones matching the five creations as it is a product of his earliest movement. Brahms dealt drastically sections of the poem. At the same time, and latest years. It was Brahms himself with the finale in his revision. It is he stated provocatively that the piece “is who expressed the opinion that it is “rare pretty much an original movement, limited to depicting Nature and for a work which has once reached its imbued with the expressive energy expressing human feelings.” conclusion to become better by revision.” and the efficiency of musical The final part of the piece is a glowing We are fortunate that he felt obliged to processes so characteristic of the protracted coda in which the various revise rather than remove, leaving us mature Brahms. themes are (again in Schoenberg's with this single analytical opportunity to An accomplished composer and words) “modified anew, so as to glorify compare his young and old compositional pianist at age 20 and encouraged and the miracles of Nature that have styles in the context of a single work. supported by Robert and Clara transfigured this night of tragedy.” Whatever his intent in later years, the Schumann, Brahms created his This music is highly articulate, opulent significant revisions in the final version earliest chamber work only to rework and intricate, full of shade and preserve the hand, the intellect and the the piece over three and one-half understated delivery, a diversity of sound somber passion churning in heart of both decades later, shortening it by one- impressions, recurrent key and time the energetic and inexperienced young third and (as he said) “making it less modifications, and involved musical man and the old man who had his four untidy” and “not as dreary as before.” direction notation. It should remind you of symphonies and all but four of his Part of inspired revising is knowing both Brahms and Wagner as it becomes chamber compositions behind him. what to leave alone. He accordingly a merger of these two traditionally The first movement, Allegro con brio, transformed all but the scherzo such divergent musical factions. The original opens with one of Brahms’ expansive that this piece may even be regarded string sextet is model chamber music and resonant melodies. It starts in the as a distinct fourth piano trio (he did that has been successfully transcribed: piano alone, but is joined after only four keep the original opus number). The Schoenberg transcribed it for string measures by the cello which conducts 1889 version remains a mainstay of orchestra in 1917, and in 1932 Eduard the melody to its close. The second the trio repertoire and is the version Steuermann, a student and colleague of subject is declared by the piano. It is in on today’s program. Schoenberg, transcribed it for piano trio, an uncanny evocative style characteristic the version we hear today. of his later period. Drinker writes, “If you —notes © Michael Spencer ND Board of Directors 2017-18 Contributors* 62 SEASON Officers Sustainer $3,000+ Supporter $50-99 2017-2018 Dwane Milnes, President C A Webster Foundation Ed & Paula Almaas Sara Milnes, Treasurer Evelyn Perl Ann M Chargin Presented in Cooperation with Peter Meyer, Secretary John & Gayle Perl Mary Jensen University of the Pacific Conservatory of Cindy Milford Music, Peter Witte, Dean Members Benefactor $1,000-2,999 Reuben & Nelda Smith Janet Bonner Alan Hitt Nancy Snider American String Quartet Marilyn Draheim Marie Medford Richard H Turpin Jonathan R Latta Dwane & Sara Milnes Peter Tuxen 2:30 PM Sunday, September 24, 2017 Marie Medford Michael & Helen Spencer Linda Wheeler Faye Spanos Concert Hall Glenn Pillsbury RECEPTION FOLLOWS Steve Schermerhorn Patron $500-999 Friend $1-49 Carl Serpa Thomas Colwell Roy Childs Pacifica Quartet Patricia Shands Glenn & Rhonelle Pillsbury Shirley Dozier 2:30 PM Sunday, October 8, 2017 Michael Spencer Sponsor $250-499 Paul J Hauben Faye Spanos Concert Hall Artist Selection Robert Calcagno Eleanor Lawrence RECEPTION FOLLOWS Marilyn E Draheim Jim & Diane Morgali Michael Spencer, Chairman Barbara Sarkany-Gore Ira Lehn Ann & Dick Filson Gryphon Trio Peter Meyer & Cynthia Rence Jerry & Claudia Schwartz Glenn Pillsbury William & Barbara Schwartz 2:30 PM Sunday, November 12, 2017 Patricia Shands Donor $100-249 Albert Siu Faye Spanos Concert Hall Dick Archbold & Joyce Burris RECEPTION FOLLOWS Past Presidents In Kind Carole Gilbertson Christine Beckstrom Janet Bonner Sara & Dwane Milnes Strata Michael Spencer Glenn Pillsbury Janet Bonner Fred Busher 2:30 PM Sunday, February 4, 2018 Michael & Helen Spencer Kathe Underwood Zulka Dozier Faye Spanos Concert Hall Roger Elkin & Joan Erreca Marty Weiner Piano Service Martha Tipton UOP Conservatory of Music RECEPTION FOLLOWS Frank Dick Jonathan & Melissa Latta Mary Jensen Ira Lehn Endowments Ayreheart Mary Chamberlain Mary Millar John & Gayle Perl 2:30 PM Sunday, March 25, 2018 Helen Kessel McCrary Don Peterson Estate of Kathe Underwood Faye Spanos Concert Hall Virginia Short McLaughlin Marvin & Bune Primack Paula Sheil Legacy Donors§ RECEPTION FOLLOWS Wilfred Mitchell, PhD Tasha Stadtner Steve and Mary Ann Carole & Phil Gilbertson Marjorie Williams Schermerhorn Dwane & Sara Milnes TO OUR AUDIENCE Alfred Rageth Suzanne & Paul Waters Michael & Helen Spencer Joan Waugh . The use of cameras and recording Robert Adams, MD *Through 10/19/2017 devices of any kind is forbidden. M Lincoln Yamaguchi § . There is no smoking in the building. Founder Jerold & Judith Yecies Legacy Donors have made Walter H. Perl, 1956 Dr. Henry & Carol Zeiter provision for bequests . Please turn off cellular telephones and disengage audible signals on Information/Donations digital devices during concert. Friends of Chamber Music . Concert programs are subject to PO Box 4874 change without notice. Stockton, CA 95204-0874 . Seating is unreserved for the 209-956-2868 2017-18 Season. 209-946-0540 . Contributions, including memorials, www.chambermusicfriends.org are tax deductible to the extent allowed by law. FAX: 209-931-17710 Ticketswww.chambermusicfriends.org are available at the door or online at chambermusicfriends.org Adult: Single $25, Season $100 UOP/Delta Faculty: $15, Season $70 Students with ID: Free Children 12 and younger: Free FOCM welcomes children to our concerts. An adult must accompany children ten years of age and younger (please, no babes in arms). At the request of artists, children should not sit in the first four rows.