ANDERSON CENTER for the Performing Arts BINGHAMTON UNIVERSITY

"Tschaikowski" St. Petersburg State Orchestra

and Chief Conductor

Tuesday, February 14, 2012 Osterhout Concert Theater | 8 p.m. Anderson Center for the Performing Arts Presents

"Tschaikowski" St. Petersburg State Symphony Orchestra

Roman Leontiev Music Director and Chief Conductor

Program

Richard Wagner Prelude and Liebestod from the Tristan und Isolde

Fryderyk Chopin Concerto No. 2 in F minor, Op. 21 Alexander Pirozhenko, pianist

Gustav Mahler Symphony No. S in C-sharp minor

PROGRAM SUBJECT TO CHANGE WITHOUT NOTICE

COLUMBIA ARTIST MANAGEMENT, LLC 1790 Broadway, 16th Floor, New York, NY 10019 Andrew S. Grossman, Senior Vice President and Senior Producer W. Seton I jams, Vice President Dr. Elena Kostyuchenko, General Director Orchestra Personnel

First Violins Cellos Horns Anna Orekhova, principal Yuri Niniev, principal Maxim Kuvychko, principal Tatiana Naletskaya Vadim Kaminskiy Sergey Fausto Alexandr Anisimov Sergei Mikhailychev Anatoly Tarov Anna Yakovleva Ilya Elinson Roman Bazanov Vladimir Troitskiy Elena Bystrova Ragim Karakhmazli Maya Yudina Anastasia Golenischeva Victor Kostiuchenko Elena Ananieva Daria Morozova Olga Egorova Inna Yakupova Trumpets Lilia Elakhovskaya Alexandra Karpenko Yuri Poliakov, principal Galina Kharitonova Ilya Kulenko Vera Kharitonova Basses Nikolaj Aseev Galina Kuzmicheva Alexandr Kuznetcov, Vasily Karbyshev Maria Platonova principal Anna Prudentova Vitalii Goriachev Trombones Gleb Rezvykh Mikhail Tcimbalenko Rifat Vildanov, principal Larissa Rybakova Rustam Murtazin Alexandr Sevastianov Evgenii Zinin Kirill Benediktov Alexei Bogdanov Yulia Zorina Dmitri Perminov Victor Perevoznikov Elena Lazareva Second Violins Tuba Kristina Popova, principal Flutes Shamil Salimov Oxana Dolya Mikhail Tokarv, principal Elvira Kapustinskaya Natalia Chernousova Timpani Evgenia Karpova Anton Alexeevskii Kirill Ksenofontov Natalia Mitsura Anna Suzdalkina Inna Pivneva Percussion Elena Popova Oboes Andrei Belichkov, principal Gyuzel Sultanova Evgeny Khvalovsky, principal Vasily Katanov Praskovia Tanikova Elena Kissel Olga Kosyreva Elena Vedayko Julia Orlova Artem Chigrik Nina Zayatz Taras Tkach Daria Khvalovskaia Clarinets Anna Chertova Anton Dereza, principal Harp Vyacheslav Korshunov Olga Pilyukova Violas Anna Kochegura Elena Andreeva, principal Musheg Mikaelyan Keyboard Aliaxandr Bogdanovich Julia Grekhova Konstantin Plekhanov Bassoons Irina Morozova Anatoly Buvalenko, principal Vadim Dvoynishikov Anna Kolesnikova Irina Prodan Sergei Nikulin Tatiana Soldukhina Marina Zakharova Ksenia Ivanova Program Notes

Prelude and Liebestod, from Tristan und Isolde Richard Wagner (born May 22,1813, in Leipzig; died February 13, 1883, in Venice) For a performance of the Prelude and Liebestod, Wagner referred to the story in the program notes as one of "endless yearning, longing, the bliss and wretchedness of love, world, power, fame, honor, chivalry, loyalty and friendship all blown away like an insubstantial dream; one thing alone left living — longing, longing unquenchable, a yearning, a hunger a languishing forever renewing itself; one sole redemption — death, surcease, a sleep without awakening."

Wagner's masterful use of the orchestra makes the Prelude and Liebestod the most often played part of the operatic literature that can be performed without the vocal part. His ingenious use of leitmotivs tells the entire story of the opera. This pairing of the prelude to the opera with the final scene, played segue, shows the seamlessness and continuity that Wagner proselytized in his 1851 book, Oper und Drama. Referring to the score of Tristan und Isolde, Leopold Stokowski once said: "Wagner created for himself a new style, a new technique, new harmonic sequences, new combinations of timbres, and a new orchestral palette." All this is never more apparent than in the Liebestod, the climax and close of the opera that has often been called the greatest in the literature of music. At the end of the third act, Isolde is restored to her lover, Tristan, only to have him die in her arms. Isolde herself expires in the anguish of her devotion, to complete the tragedy of the love-potion. Once again, quoting Stokowski: "The music leaps toward us like a flame with burning impulsiveness. It mounts up into great climaxes of sound. The tempo is always agitated — always changing — and yet an unbroken line passes through every impulsive phrase and unifies the seemingly improvised tonal design. This love music continues its overpowering eloquence when words cannot continue, when even life cannot further express itself. It is the supreme and ultimate of the poetry of love." Source: Columbia Artists Management Inc., 1998, edited by Elizabeth E. Torres

Concerto No. 2 in F minor, Op. 21 Fryderyk Chopin (born March 1,1810, in Zelazowa Wola, Poland; died October 17,1849, in ) Chopin's Piano Concerto in F minor, known as the "Second" Piano Concerto, was written in 1829, one year before the so-called Concerto No. 1 in E minor, but published later. The work was premiered on March 17, 1830, at the National Theater in Warsaw, along with the composer's Fantasia on Polish Airs. As was the practice at the time, the first movement was separated from the other two by another piece, in this instance a divertissement for solo horn. The performance was a great success; a review of the concert stated: "Chopin knows what sounds are heard in our fields and woods, he has listened to the song of the Polish villager, he has made it his own and has united the tunes of his native land in skillful composition and elegant execution." The adulation was so great that the concert was repeated five days later. In Polish eyes, Chopin was a Polish national composer. The first movement is marked maestoso and is in common time. Chopin patterned the first movements of his concerto on the style of Hummel, who was in vogue at the time. The exposition is in the "classic" manner, first stated by the orchestra and then by the soloist. The principal subject played by the strings is followed by a second theme in A-flat major, which is presented by the oboe, then repeated by the strings. After a few introductory measures, the piano enters abruptly with the first subject and then extends it. A transitional section leads to the reappearance of the second subject. A short orchestral tutti introduces the development section, based on the first four notes of the principal theme. With the recapitulation, the first theme is again presented, this time in a truncated version. The second subject is restated, then transposed to C minor. The movement ends with an orchestral tutti. In the second movement, in A-flat major, the theme is stated and embellished by the soloist. A middle section in declamatory style is followed by a return of the first theme in a more florid form. A short coda ends the movement. Chopin's inspiration for this movement was his affection for a young singer, Constantia Gladkowska. Calling her "my ideal . . . whom I dream of," he wrote in a letter to a friend in 1829: "while my thoughts were with her, I composed the adagio (actually a larghetto) of my concerto." The piece is dedicated, however, to another singer, Countess Patocka. Liszt, an ardent supporter of Chopin, wrote of this movement: "Passages of surprising grandeur may be found in the adagio of the Second Concerto . . . the accessory designs are in his best manner, while the principal phrase is of an admirable breadth. It alternates with a recitative, which assumes a minor key, and which seems to be its antistrophe. The whole of the piece is of a perfection almost ideal; its expression, now radiant with light, now full of tender pathos." The third movement, marked Allegro vivace, begins with the soloist announcing the principal subject. Following an orchestral section, the theme returns. After much development and dialogue between the orchestra and soloist, the second theme is presented by the soloist, with an understated accompaniment in the strings. A horn solo announces the final section, notable for the triplet figures in the piano part.

Unlike some composers, Beethoven and Wagner, for example, Chopin's compositional style did not develop as he grew older; the elements found in pieces written in his teens, such as this concerto, are evident also in those works from later in his life. Because the concerto is by nature a large work, elements from smaller works can be found in various sections. The listener can detect throughout the piece the lyricism of a nocturne, the vitality of a mazurka and the technical difficulty of an etude. Following the 1830 performances, Chopin left Warsaw, never to return.

Source: Columbia Artists Management Inc., 1998

Symphony No. 5 in C-sharp minor Gustav Mahler (born in Kalischt, Bohemia, on July 7,1860; died in , May 18, 1911) Mahler composed his Symphony No. 5 in C-sharp minor between 1901 and 1902; it was completed during a brief summer holiday that gave Mahler respite from the demands of leading the Vienna State Opera. This came at a time when Mahler was being gradually accepted as a composer, while his fame as a conductor increased in geometric proportion. He hoped to hear this new symphony in a congenial environment, performed by an orchestra able to cope with the technical and spiritual complexities of the score; this was fulfilled in Cologne. The work received its first public performance in that city at the famous Gurzenich concert hall on October 18,1904, with the composer conducting. The work was next heard the following year by the Amsterdam Concertgebouw, conducted by Wilhelm Mengelberg, and soon other performances followed. After the composer's death, this symphony — like the rest of his works — lapsed into obscurity; it was not until the 1960s, with the renewed interest in Mahler, that the Fifth Symphony attained a secure place in the repertoire of the virtuoso orchestras of today. The Fifth Symphony is built upon a massive, three-part, arch-like structure. Although there is no clearly defined program to this work, it does suggest a built-in dramatic narrative: Part I consists of the first and second movements, a funeral march and an agitated Allegro, both of which exhibit an aura of pessimism and strongly express the composer's dread of ultimate meaninglessness; Part II is the pivotal Scherzo, in which the drama turns from darkness to the light; and Part three is composed of the last two movements, which provide a denouement and a triumphant conclusion to the proceedings. The mournful and introspective first movement, in addition to being designated Trauermarsch (Funeral March), bears the additional marking of "in measured step, stern, like a procession." At the outset, a solo trumpet presents a tragic fanfare that becomes the basis for the main theme, which, after a full orchestral outburst, continues in the trumpets against the fanfare motif played by the horns. The fanfare continues for a few measures, but soon subsides to give way to the elegiac second theme, which is presented by the first violins and the cellos in unison; this theme is closely related to Mahler's song "Der Tambourg'selL,*' about a drummer boy facing execution, from the Wunderhorn collection. With these two themes at the fore, the central section of the movement is reached. Suddenly, as the music becomes "faster, passionate and wild," a terrific outburst brings on a stormy section in which a hopeful violin theme emerges briefly, but is soon overpowered. After the return of the march, a quiet, but no less anguished episode ensues. The fanfare motif is reiterated until a climax is reached; with distant echoes of the trumpet fanfare, the movement reaches its quiet conclusion. The Allegro second movement is further marked "in stormy motion with utmost vehemence." Thematically, this movement is related to the preceding one, thus achieving a sense of coherence in Part I as a whole. A short phrase by bassoons, cellos and basses initiates this agitated movement. An extended tempestuous section leads to a passage wherein the fanfares of the first movement are recalled in a slightly altered figuration, against a tnolto cantabile melody in the cellos. The principal themes are then freely developed in a sonata allegro fashion. The development concludes with a raging, percussive section that is followed by a mournful passage for the cellos. The recapitulation, in anticipation of the third movement, adopts a more confident note, as a solemn brass chorale theme (which will play a part again in the last movement) is heard. As the storm dissipates, the once-long themes are now heard as brief motifs as Part I quietly comes to an end.

After a long pause, requested by the composer in the score, comes the brilliant Scherzo that constitutes Part II; marked "vigorously, but not too fast," this movement of immense proportions is the core of the work and marks the turning point in the proceedings. Although anguish and despair are now set aside, dramatic tension is still maintained here by the ingenious mixture of two dances, the lXndler, an Austrian country dance, and the waltz, both alternating with each other and exhibiting great contrapuntal skill on the part of the composer. After a short flourish from four horns, a solo horn intones the main theme of the lXndler; both this melody and the motivic horn flourish recur throughout the movement in various transformations. When the first trio section is reached, we are introduced to the first of the many waltz melodies that appear throughout. Although the tempo relaxes at times, easing into a slow waltz now and then, there are many passages of irony as well as tender moments that provide contrast. The return of the scherzo is marked by the increase of polyphony. The second, more extended trio section begins with a nostalgic waltz that emerges from the pizzicato strings. After a while the Scherzo once again takes over with exuberant optimism.

Part III begins with an Adagietto that acts as a long introduction to the Finale. Scored exclusively for harp and strings, this is perhaps the most sublime music Mahler ever wrote; this is most likely Mahler's best-known music, as it was most dramatically and effectively used in Visconti's film, Death in Venice. The radiance that was established in the Scherzo is now continued in a vein of pure lyricism and bittersweet contemplation. The mood established here reflects that of Mahler's contemporaneous sdh$ "Ich bin der Welt abhanden gekommen" (I am lost to the world), frortfmfe collection now known as Ruckert Lieder. The movement also shares the aforementioned song's melodic style as well as employing melodic turns and strains from the second song in his own Kindertotenlieder (Songs on the death of children), also written at the same time as the Fifth Symphony. The serene glow of the pianississimo ending is startingly cut off by the first horn note that begins the last movement without a pause. Part III is rounded off by a masterful Rondo-Finale marked Allegro; the form of a rondo, although common to the last movement of uncountable classical symphonies and concertos was one that Mahler had not used until this symphony. A variety of old-fashioned contrapuntal devices are also employed as the thematic material receives fugal and variational treatment, with elaborate and masterful contrapuntal craft. The movement relies on a number of folk-like motivic cells, as when the bassoon enters with a motif taken from Mahler's own song, "Lob des hohen Verstandes" (Praise from a lofty intellect), from the Des Knaben Wunderhorn cycle. The actual rondo refrain springs forth from the last four notes of the bassoon's melody. Soon, an exuberant baroque-like theme, first heard in the cellos, gives way to a short but nimble fugue. Afterwards, fugal gestures alternate with passages of lyricism as the composer develops his thematic and motivic cells. As additional new thematic ideas appear, eventually elements from the preceding Adagietto make their way into the texture, imparting cohesiveness to Part III, and brief recollections of themes from other movements add unity to the work as a whole. The excitement builds to a huge climax, culminating jubilantly with the brief chorale from the second movement, now fully developed into a stately hymn in affirmation of joy in life. Source: Columbia Artists Management Inc., 1996 aTschaikowski,, St. Petersburg State Orchestra

The "Tschaikowski* St. Petersburg State Orchestra was founded in the years following World War II. Since then, it has worked successfully in different musical genres and with many of the outstanding conductors from the St. Petersburg Conducting School, and has received broad acclaim and popularity throughout Russia. The orchestra has undergone much change since its inception, including a change of name and leadership, yet continues to develop its repertoire and strengths — and a devoted audience. The orchestra's repertoire is extremely diverse, its music ranging from the baroque to the music of the 20th century, from baroque compositions by Vivaldi, Bach and Handel to contemporary compositions by Schnitke, Banshikov, Desyatnikov and Kancheli. The orchestra is at home in the works of famous Russian Romantic composers (Tschaikowski, Rachmaninoff) as well as the classical composers of the 20th century (Honegger, Poulenc, Hindemith, Stravinsky). Its performances are held in the best St. Petersburg halls, such as the Dmitry Shostakovich St. Petersburg Philharmonic Grand Hall, State Academic Capella, Smolny Cathedral and City Cultural Center. Since the 1990s, the orchestra has held a regular subscription series, in addition to standard concerts, and offers many educational and charity programs aimed at exposing young people to its vast repertoire. It performs very popular Young People's concerts in St. Petersburg on a regular basis. The "Tschaikowski" St. Petersburg State Orchestra also tours regularly all over the world, including successful concert tours in Europe, China and Japan. Many of Russia's legendary and most distinguished soloists and conductors have worked with the orchestra over the past several decades, including Montserrat Caballe, Sviatoslav Richter, Elena Obrastsova, Yevgeni Nesterenko, Yuri Egorov and Viktor Tretyakov.

Roman Leontiev Music Director and Chief Conductor

Roman Leontiev, music director and chief conductor of the "Tschaikowski" St. Petersburg State Orchestra, is widely regarded as one of the preeminent Russian conductors of his generation. His career has been accented by distinguished engagements throughout Russia and Western Europe since his graduation in 1981 with highest honors from the Glinka Conservatory of Music in St. Petersburg. His mentors included the People's Artists of Russia (Russia's highest cultural honor) Gennady Rozhdestvensky and Dr. A.M. Katz. Upon graduation, Leontiev was accepted as an apprentice to the St. Petersburg State Conservatory of Music as a pupil of the People's Artist of Russia, LA. Mussin. Leontiev's first professional acclaim was in 1985 when he was awarded the USSR State Medal of Excellence in Conducting for his leadership of the Moscow International Festival Orchestra while still a student at the Glinka Conservatory of Music. The following year, he received a Special Award for Conducting at the Third Annual Russian National Folk Music Festival. These honors led to Leontiev being asked to conduct the leading orchestras of Russia, including the Moscow State Radio Symphony Orchestra, the Bolshoi Theatre Orchestra and the USSR State Symphony. Because of his success, Leontiev was invited to France to conduct the Orchestre de Paris and Orchestre National de France. He was invited to return to France to conduct a series of important concerts, which was broadcast nationally on French Television and Radio (ORTF). Leontiev's additional European engagements included performances in Germany with the Stuttgart Radio Symphony Orchestra, Staatskapelle, Dresden Staatskapelle, and in Bonn with the Beethovenhalle. Additionally, he has appeared in Finland as guest conductor of the Finnish Radio Symphony Orchestra and in Sweden as guest conductor of the Royal Philharmonic Orchestra. In 1997, Leontiev was engaged by Maestro Lorin Maazel to conduct the Symphonica Toscanini for his Italian debut, which was followed by engagements in Hungary with the Budapest Radio and Television Orchestra and Budapest Philharmonic Orchestra. The success of these concerts led Leontiev to being invited to conduct the Bolshoi Theatre Orchestra in the Bolshoi's Great Hall, the Orchestra of the Mariinski Theatre, and the Tchaikovsky St. Petersburg State Orchestra in the Philharmonia Hall. The "Tschaikowski" St. Petersburg State Orchestra engaged Leontiev as principal guest conductor in 2001, and during that season he performed the complete Beethoven Symphony cycle. Following the success of these performances, Leontiev and the "Tschaikowski" St. Petersburg State Orchestra were invited to tour in the United Kingdom. In 2002, Leontiev was named the orchestra's music director and was invited to lead it in the world premiere of "Vladimirskaya Square," in commemoration of the 300th anniversary of the founding of the city of St. Petersburg. That same year he was also named principal guest conductor of the Symphony Orchestra of Konstants, Germany. Now in 2012, Leontiev leads the "Tschaikowski" St. Petersburg State Orchestra on its inaugural transcontinental tour of the United States. Alexander Pirozhenko Pianist

Alexander Pirozhenko has the technical skills to do anything he wants with a piano and what he does is "sensitive, original, and brilliant,'' wrote tyffi*-Washington Post after Pirozhenko's debut at the Kennedy Center in Washington, D.C. His international piano competition prizes include First Prize in the XXV Ettore Pozzpli International Piano Competition, in Italy; First Prize in the Young Concert Artists International Auditions, in New York; First Prize in the XVI Ibiza International Piano Competition, in Spain; First Prize in the Paula Cussi International Piano Competition to Celebrate the Tercentenary of St. Petersburg; First Prize in the 8th Newport International Piano Competition, in Wales; and Second Prize in Concorso Internazionale Musicale Valsesia - Musica, in Italy; the 3rd International Piano Competition in Memory of Emil Gilels, in Odessa; the 7th New Orleans International Piano Competition; the Vendome Prize International Piano Competition; the 4th International Piano Competition in Memory of Vladimir Horowitz, in Kiev; and the Bremen International Piano Competition. Pirozhenko has appeared on stage all over the world and has performed in numerous festivals. He is a frequent soloist with orchestras world-wide and has worked with conductors including Nikolai Alexeev, Alexander Dmitriev, Vladimir Altshuler, Alexander Sladkovsky, Sergey Stadler, Alexander Tchernushenko, Stanislav Gorkovenko, Alexander Kantorov, Edward Serov, Andrei Anikhanov, Tugan Sokhiev, Volodimir Sirenko, Mykola Dyadyura, Hobart Earle, Imants Resnis, Grant Llewellin, Ulf Schirmer, Nicholas Carthy, Neil Varon, En Shao, Ovidiu Balan, Mariusz Smolij, Olivier Dejours, Michael Stern, Jorge Mester, Klauspeter Seibel, Claire Fox Hillard and John Jeter. Born on November 3,1979, in St. Petersburg, Russia, Alexander Pirozhenko began his piano studies with Irina Saravayskaya at the age of 5 and studied with Marina Wolf at the Special Music School of the St. Petersburg Rimsky- Korsakov State Conservatory. In 1998 he began studies with Prof. Alexander Sandler at the St. Petersburg Conservatory, graduating with highest honors in 2003 and completing postgraduate studies two years later. He also did postgraduate studies with Prof. Arie Vardi at the Hochschule fur Musik und Theater Hannover. Since 2006, Pirozhenko has taught piano at the St. Petersburg State Conservatory. He has given master classes in the United States, Ukraine and Italy, and served as a jury member for international competitions in Spain and Ukraine. 1 ANDERSON CENTER FOB 2011-12 We wish to express our sincere appreciation to thi Leaders Joanne Dillon Rinker Ross Memorial Foundation Dr. Mark Kulikowski Marilyn Gaddis Rose Dr. Fannie R. Linder Kathleen and Michael Samulka Donna Pylypciw and Michael McGoff Ken and Mary Waskie Ray and Wanda Osterhout Wegmans Food Markets, Inc. Resciniti Dry Cleaners Inc. Associates Bruce and Harriet Becker Gary E. Pedro Rebecca Benner Dr. Christopher Joy and Dick Darpino Ms. Cathy Velenchik IBM Matching Gift Program Benefactors Frank and Colette Floyd Donald A. Mones Kari Seana and Kristian Ulrik Fonss Hanne and James Parsons Laura J. Granelli and Dr. Eric Gerde Dave and Eileen Peters Mary Ann 8c John Hrywnak Susan Strehle Mr. and Mrs. Roger McVannan Mariene West Patrons Kavasseri S. Agneshwar Bob and Sharon Lindridge Martin D. Anderson Ann and Steven Machlin Barbara and Les Bank Francis and Joyce Majewski Patty and Bill Bloomer Mr. and Mrs. Michael Majewski Shirley Bronsky John and Elizabeth J. Marko Mary M. Burgess Dr. Joseph P. McMenamin The Callery Family Louise and Eric Neff Pamela W. Coviello H. Toni Norton Dominic D. Di Stefano, Jr. Steven Palmer Mark and Debby Epstein Mr. and Mrs. Roy Paston Steven Eshchuk David H. Pedro Robert Irwin, Jr. and Lenore Evanosky Marion Pine Kathleen Foy Mary Pisani Dr. and Mrs. Philip Gottlieb Constance A. Piatt Dr. Payam Goudarzi John F. Russell Robert F. Howe Eric and Karen Seybold Ruth C. Innes Rita E. Shawn Roslyn S. Jay Mary Ann Smilnak Dr. and Mrs. Thomas F. Kelly Gary L. Truce Jin and Chong Kim Dr. and Mrs. Orest M. Wasyliw Carol J. and William Korutz James Sullivan and Patricia Wrobel Jacqueline Zagorsky Patricia M. Lennon Karen and Edward Levene THE PERFORMING ARTS ANNUAL APPEAL following contributors as of January 10, 2012: Donors Mr. and Mrs. Paul J. Adamek Janice McDonald Anonymous Jean Milano Gary and Cynthia Bessel Dr. Ira S. Miller Edward and Marilyn Bok Mrs. Theodore E. Mulford Joel and Linda Boyd Lucie Nelson Christine J. Brown Mr. and Mrs. Edward J. Orosz Carl and Dolores Bugaiski Suzanne Outman John and Anne Marie Convertino Gloria and Stanley Pelter Mrs. Beverly Hosten Dorsey Romy A. Pomerantz Paul Farbanish Jerry and Mary Lu Portland Carol Finch James F. Price Huei-tsi S. Ford Marilyn E. Roberts Mary A. Frate Margie Robinson Daniel and Paula Friedman Swaati Puri Dr. and Mrs. Robert G. 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