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Beethoven Birthday Bash - Forever Young Saturday, December 12, 2020 7:30 PM Livestreamed from Universal Preservation Hall Saratoga Springs, New York

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Beethoven Birthday Bash - Forever Young Saturday, December 12, 2020 7:30 PM Livestreamed from Universal Preservation Hall Saratoga Springs, New York Beethoven Birthday Bash - Forever Young Saturday, December 12, 2020 7:30 PM Livestreamed from Universal Preservation Hall Saratoga Springs, New York David Alan Miller, conductor Karen Hosmer, oboe Nancy Dimock, oboe Welcome to the Albany Symphony’s 2020-21 Season Re-Imagined! The one thing I have missed more than anything else during the past few months has been spending time with you and our brilliant Albany Symphony musicians, discovering, exploring, and celebrating great musical works together. Our musicians and I are thrilled to be back at work, bringing you established masterpieces and gorgeous new works in the comfort and convenience of your own home. Originally conceived to showcase triumph over adversity, inspired by the example of Beethoven and his big birthday in December, our season’s programming continues to shine a light on the ways musical visionaries create great art through every season of life. We hope that each program uplifts and inspires you, and brings you some respite from the day-to-day worries of this uncertain world. It is always an honor to stand before you with our extraordinarily gifted musicians, even if we are now doing it virtually. Thank you so much for being with us; we have a glorious season of life- affirming, deeply moving music ahead. David Alan Miller Heinrich Medicus Music Director Beethoven Birthday Bash -Forever Young Saturday, December 12, 2020 | 7:30 PM Livestreamed from Universal Preservation Hall David Alan Miller, conductor Karen Hosmer, oboe Nancy Dimock, oboe Ludwig van Beethoven The Creatures of Prometheus: Overture and Finale (1770-1827) Michael Torke Ash (b. 1961) Viet Cuong Extra(ordinarily) Fancy: Concerto for Two Oboes (b. 1990) Ludwig van Beethoven Symphony No. 1 in C, op.21 (1770-1827) I. Adagio molto - Allegro con brio II. Andante cantabile con moto III. Menuetto: Allegro molto e vivace IV. Finale: Adagio - Allegro molto e vivace This concert is generously sponsored by: Concert Talks Sponsor: BEETHOVEN BIRTHDAY BASH -FOREVER YOUNG ORCHESTRA ROSTER VIOLIN I CLARINET Elizabeth Silver Hector Noriega-Othon Emily Frederick Pascal Archer Heather Frank-Olsen Gabriela Rengel BASSOON Alexander Davis VIOLIN II Steven Palacio Mitsuko Suzuki Barbara Lapidus HORN Christine Kim Victor Sungarian Kyra Sims VIOLA Bryn Coveney Daniel Brye Anna Griffis TRUMPET Ting-Ying Chang-Chien Eric Berlin Eric Latini CELLO Susan Debronsky TROMBONE Erica Pickhardt Greg Spiridopoulos BASS TIMPANI Luke Baker Matthew Beaumont FLUTE PERCUSSION Matthew Ross Richard Albagli Brendan Ryan Mark Foster OBOE HARPSICHORD / SYNTHESIZER Karen Hosmer Greg Hayes Nancy Dimock Randall Ellis Jasmine Daquin BEETHOVEN BIRTHDAY BASH -FOREVER YOUNG – Program Notes Tonight’s concert features pieces by three men written at the start of their careers. Michael Torke was 27 when he wrote Ash; Viet Cuong was 29 when his concerto was premiered; and Beethoven was 31. Mr. Torke, now 59, has gone on to great acclaim and a long connection with the ASO. Mr. Cuong, now 30, will, no doubt, be a prominent voice in American music for years to come. Mr. Beethoven? He had a good run. We say, “Happy 250th Birthday” (December 17, 1770) with the ASO’s first playing of his Symphony No. 1 in the 23 years that I have been writing notes. Maestro Miller has surveyed the other eight symphonies over the last two decades, so it’s fitting that we now honor Herr Ludwig with the programming of this early beauty. LUDWIG VAN BEETHOVEN “…(W)hat makes Beethoven (1770-1827) so supremely popular a composer is that his music embodies something of universal human experience, and his triumph (for he is always ultimately triumphant) is the final hope of men.” So wrote the conductor Sir Malcolm Sargent. We tend not to use such terms with other composers. “Universal human experience”? “Triumph”? “Final hope of men”? These are phrases we associate with Beethoven because of particular circumstances in his life that made him struggles and which made that struggle evident in his music. We might also note that there is a seriousness of purpose—not grimness—that colors most of his work. It is an almost palpable intensity, one that comes out most obviously in the piano sonatas and the string quartets, those most intimate forms. What were those circumstances? They seem chiefly to have been his cantankerous personality (Sargent refers to Beethoven’s “almost total incapacity to divine the feelings of others”); his deafness, which became noticeable to him at the age of 28; and his powerful and complex relationship with his nephew, Karl, for whom he had responsibility after the death of Beethoven’s brother in 1815. Add to these tensions the natural inquisitiveness of his mind about matters political and philosophical and a belief that he existed “to convey in music what he had learned from life,” and we have, perhaps, some understanding about why this enormous body of work— nine symphonies, seven concertos, an opera, choral music, chamber music—seems to convey such a strong sense of purpose and a no-nonsense attitude. The Creatures of Prometheus: Overture and Finale- Ludwig van Beethoven In 1801 Beethoven composed music for a ballet by dancer and choreographer Salvatore Vigano, whose story follows the Greek god Prometheus’s attempt to bring scientific and artistic enlightenment to humankind, having found us wanting those respects. Over the course of the ballet, consisting of 16 scenes and an overture and introduction, Prometheus calls forth the likes of Apollo and Terpsichore to do the teaching. The Overture opens with seven hard-struck chords, starting with a C-major chord and winding up on a G---the dominant of C. Textbook. The ensuing solemn section is dispelled by the strings in a fast pianissimo, a tune that is followed by a second theme in the winds. Throughout this overture Beethoven provides us with his characteristic explosive outbursts alternating with quiet passages and heavy accents. Such energy! Clearly, the story that is about to be told is a dramatic one. The charming Finale begins with a melody that we know from some other work—what? You guessed it. The last movement of the Symphony No. 3, from two years later. In other words, he cribbed from himself. The entire movement is the 31-year-old Beethoven showing off. Basically, it’s in rondo form, wherein the familiar theme stitches together a number of musical episodes. But even when the melody returns, Beethoven is sure to vary it slightly, with instrumentation, curlicues, syncopation, and mode. - Concert notes by Paul Lamar MICHAEL TORKE Michael Torke's music has been commissioned by such orchestras as The Philadelphia Orchestra, the New York Philharmonic, and the San Francisco Symphony; by such ballet companies as New York City Ballet, Alvin Ailey, and the National Ballet of Canada; by such opera companies as the Metropolitan Opera, Théâtre du Châtelet, and the English National Opera; by such large ensembles as the London Sinfonietta, Lontano, and De Volharding; and such small ensembles as the Smith, Ying, and Amstel Quartets. He has worked with such conductors as Simon Rattle, Kurt Mazur, Edo de Waart, and David Zinman; such choreographers as Christopher PC: Bryan Hainer Wheeldon, James Kudelka, and Juri Kilian; and collaborated with such librettists as A. R. Gurney, Michael Korie, and Mark Campbell; and such directors as Des McAnuff, Bart Sher, and Michael Greif. He has been commissioned by entities such as the Walt Disney Company, and Absolute Vodka; worked with such soloists as Tessa Lark, Christopher O'Reilly, and Joyce Castle; and written incidental music to such companies as The Public Theater, The Old Globe Theater, and Classic Stage Company; and been composer in residence with the Royal Scottish National Orchestra. Beginning his career with exclusive contracts with Boosey and Hawkes, and Decca Records, he now controls his own copyrights and masters through his publishing company, Adjustable Music, and record company, Ecstatic Records. His music has been called "some of the most optimistic, joyful and thoroughly uplifting music to appear in recent years" (Gramophone). Hailed as a "vitally inventive composer" (Financial Times) and "a master orchestrator whose shimmering timbral palette makes him the Ravel of his generation" (New York Times), Torke has created a substantial body of works in virtually every genre. Ash – Michael Torke In trying to find a clear and recognizable language to write this piece, I have chosen some of the most basic, functionally tonal means: tonics and dominants in F minor, a modulation to the relative major (A-flat), and a three-part form which, through a retransition, recapitulates back to F minor. What I offer is not invention of new "words" or a new language but a new way to make sentences and paragraphs in a common, much-used existing language. I can create a more compelling musical argument with these means because, to my ears, potential rhetoric seems to fall out from such highly functional chords as tonics and dominants more than certain fixed sonorities and Pop chords that I have used before. My musical argument is dependent on a feeling of cause and effect, both on a local level where one chord releases the tension from a previous chord and on the larger structural level where a section is forced to follow a previous section by a coercive modulation. The orchestration does not seek color for its own sake, as decoration is not a high priority, but the instruments combine and double each other to create an insistent ensemble from beginning to end. Only occasionally, as in the middle A-flat section, do three woodwind instruments play alone for a short while to break the inertia of the ensemble forging its course together. Ash was commissioned by the St. Paul Chamber Orchestra with support from the Jerome Foundation.
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