Sunday Afternoon, February 19, 2017, at 3:00 Judy and Arthur Zankel Hall

From Creation to Rhapsody

HART HOUSE ORCHESTRA, UNIVERSITY OF with BENJAMIN SMITH , Piano

HENRY JANZEN , Conductor and Music Director

Soldier’s Tower, Hart House, . 1930. Etching. Owen Staples (1866 –1949).

Celebrating the 40th anniversary of the Hart House Orchestra and Canada’s sesquicentennial.

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. THE Program

Welcoming remarks by John F. Monahan, Warden, Hart House

SAMUEL BARBER Adagio for Strings , Op. 11

SRUL IRVING GLICK Suite Hébraique No. 1 I Adagio sostenuto II Allegretto grazioso III Rithmico IV Lento sostenuto V Andante sostenuto VI Allegro

ELIZABETH RAUM Evolution: A Theme with Variations (US Premiere) Theme Larghetto Variation I Renaissance: L’istesso Tempo Variation II Baroque: Allegro ma non troppo Variation III Classical: Allegretto Variation IV Romantic: Allegro energico Variation V French Impressionistic: un peu lent Variation VI Twentieth Century: Moderato Variation VII Finale: Moderato/Andante/Allegro con fuoco

GEORGE GERSHWIN Rhapsody in Blue BENJAMIN SMITH , Piano

Intermission

JOHANNES BRAHMS Symphony No. 1 in C minor, Op. 68 I Un poco sostenuto – Allegro II Andante sostenuto III Un poco allegretto e grazioso IV Adagio – Allegro non troppo ma con brio Notes ON THE PROGRAM by Joseph Nachman SAMUEL BARBER : Adagio for Strings , Op. 11 Samuel Barber was born in West Chester, Pennsylvania on March 9, 1910, and died in New York City on January 23, 1981. Adagio for Strings was arranged from the second movement of his S tring Quartet, in 1936, and premiered during a radio broadcast at the Rockefeller Center in New York on November 5, 1938 with the NBC Symphony Orchestra conducted by Arturo Toscanini. The work is approximately 10 minutes long in a typical performance.

Barber’s Adagio for Strings , arguably While much of Barber’s music is suffused his most popular work, began life as the with melancholy, in the words of the second movement of his String Quartet, critic Alexander Morin the Adagio for Op. 11. The quartet was composed in Strings is “full of pathos and cathartic 1936, while he was spending a summer passion” and “rarely leaves a dry eye.” in Europe with his partner, the Italian Its profound sadness contributed to it composer Gian-Carlo Menotti (whom becoming the unofficial American he met when both were students at the anthem of mourning. The Adagio was Curtis Institute in Philadelphia). Barber, played at the funeral of President F.D. who possessed broad literary interests Roosevelt. The Boston Symphony Or - and knowledge, found inspirations for ches tra being in concert, on hearing Pres - the quartet in The Georgics , a poem by ident Kennedy had been killed, pulled the Latin poet Virgil, which describes this work from the library and performed how a rivulet becomes a mighty river. In it as a tribute to the fallen President. the quartet the Adagio is the quiet inter - lude between two violently agitated movements. Immediately after the com - The structure of the Adagio is a musical pletion of the quartet, Barber felt that arch that builds on a melody that first the Adagio would stand well on its spirals upwards and then descends in own, and he orchestrated it for string stepwise fashion. Barber subtly manip - orchestra in the same year. The work ulates the basic pulse throughout the was premiered in 1938 by Arturo work by constantly changing time sig - Toscanini and the NBC orchestra in a natures and the use of strategically- radio broadcast attended by an invited placed fermati . This is also apparent in audience; it was warmly received by the recurring three-note motif that both critics and the audience. The first spans the minim (half note) pulse public performance was in 1942 by the unevenly. After a poignant climax and a Philadelphia Orchestra with Eugene long pause, the piece presents the open - Ormandy conducting. ing theme again and fades away. SRUL IRVING GLICK : Suite Hébraique No. 1 Srul Irving Glick was born in Toronto, Canada on September 8, 1934, and died in Toronto on April 17, 2002. Suite Hébraique No. 1 was written in 1961. It is scored for string orchestra and is 11 minutes in duration. Srul Irving Glick was born in a musical Suite Hébraique No. 1 was written in family. His father was a cantor, while a Paris in 1961. According to the com - brother was a clarinetist. Glick began poser, after being away from Toronto his studies in Toronto, then took him - for two years he was starting to get self to Paris for further studies with nostalgic feelings for his home and his Darius Milhaud, Max Deutsch, and family. He decided to write a work Louis Saguar. On his return to Canada evoking those feelings, which he dedi - he taught theory and composition at cated to his parents. the Royal Conservatory of Music in Toronto. Between 1962 and 1986 Glick The Suite is in six movements, each rep - was a producer of classical music pro - resenting a different aspect of Jewish life. grams at the Canadian Broadcasting The first movement is a cantorial chant. Corporation where he curated the pre - The second is a Hassidic dance. This is miere of many Canadian works. He followed by a Hora, which is an Israeli was also cantor and director of music at dance having its origins in Romania. The the Beth Tikvah synagogue. Glick fourth movement is a lullaby based on a wrote in many forms, including cham - theme sung to Glick by his mother. The ber music, oratorio, vocal, and choral fifth is a pastoral. The last movement, works, integrating Jewish religious entitled Circle Dance, is a whirling folk musical idiom into his compositions. dance in the Israeli tradition.

ELIZABETH RAUM : Evolution: A Theme With Variations Ms. Raum was born in Berlin, New Hampshire in January 1945 . Her work Evo - lution: A Theme with Variations , written in 1985, is approximately 10 minutes in length. It is scored for , oboe, clarinet, bassoon, horn, trumpet, and strings. Elizabeth Raum earned her bachelor of Classical Video with originally written music in oboe performance from the music. The theme is carried through Eastman School of Music and her mas - seven variations spanning the periods ter of music degree in composition from from Renaissance to Contemporary the University of Regina. Her perform - and utilizing the compositional devices ing career included a long and respected of the periods. For instance, the stint as principal oboist with the Regina Baroque variation is a fugue; the Clas - Symphony Orchestra. She is an associ - sical a mini sonata allegro with violin ate member of the Canadian Music cadenza; the French Impressionistic Centre. The composer kindly provided uses the whole tone scale, and the some notes about her composition: Contemporary employs minimalist techniques with a tone row. The final Evolution: A Theme with Variations variation metamorphoses from con - was written on commission by the temporary, back through the ages to a Regina Symphony Orchestra for their Renaissance Bacchanal. Chamber Players. With the assistance of the Saskatchewan Arts Board, Evo - Today’s performance is the U.S. pre - lution was made into Canada’s first miere of this work. GEORGE GERSHWIN: Rhapsody in Blue George Gershwin was born in Brooklyn, New York City, on September 26, 1898, and died in Los Angeles on July 11, 1937. Rhapsody in Blue was written in Jan - uary 1924. It premiered at the Aeolian Hall in New York City on February 12, 1924 by Paul Whiteman and the Palais Royal Orchestra, with the composer play - ing the piano. A typical performance is approximately 20 minutes in length. Today’s performance is based on the 1926 orchestration by Ferde Grofé, with flute, oboe, two clarinets, bassoon, saxophone, two horns, two trumpets, trom - bone, timpani, percussion (suspended cymbal, snare drum, bass drum, tam-tam, triangle, Glockenspiel, cymbals), and strings.

Gershwin learned from the newspaper tailored for Russ Gorman, Whiteman’s that he was meant to write what turned first-chair clarinetist. out to be one of his most groundbreak - ing compositions. On January 3, 1924, Gershwin sketched a framework for an article appeared in the New York Rhapsody on January 7 while on the Tribune announcing a concert to be train to Boston. He later claimed that given on February 12, 1924 at the Aeo - the concept of the piece was inspired in lian Hall. The concert’s bold purpose part by the rhythmic noises of the train was to display modern American music ride. Upon his return to New York he in all its varieties. It was organized by resumed work, managing to produce Paul Whiteman, the self-styled “King of the two-piano score by the end of the Jazz” who was one of the most popular month; the orchestration was com - bandleaders of the 1920s. His Palais pleted barely a week before the pre - Royal Band, however, was no jazz band; miere. Due to the tight deadlines and rather, it was a dance orchestra that his other commitments, Gershwin did occasionally employed jazz musicians. not have time to complete the solo pas - The announcement further stated: sages by the time of the concert. He “George Gershwin is at work on a jazz ended up performing from memory, concerto; Irving Berlin is writing a syn - possibly even improvising, while indi - copated tone poem….” cating to Whiteman with a nod when the next orchestral portion was to It was all news to Gershwin, who ini - begin. In 1926 and again in 1942, tially refused because he was busy Grofé re-orchestrated the score, the lat - working on his new musical, Sweet Lit - ter for full symphony orchestra, which tle Devil , due to open in Boston at the is the version that is usually performed. end of the month; he felt that he could not write a concerto on such short The concert at the Aeolian Hall was notice. Whiteman, however, managed long and tedious, with Gershwin’s to convince Gershwin to accept the Rhapsody in Blue scheduled towards commission by telling him that he only the end. The audience’s attention was needed to produce a two-piano version starting to flag, but when the opening of the work. The orchestration was put clarinet glissando was heard it became in the hands of Ferde Grofé, White - electrified. While the critical reaction man’s very talented in-house arranger, was mixed, the audience was thrilled. best known for his Grand Canyon The work was recognized immediately Suite . Grofé produced a brilliant score as something new and excitingly differ - that highlighted the strengths of the ent and it established Gershwin’s repu - band’s musicians; for instance, the tation as a “serious composer.” famous opening clarinet glissando was The initial title of the piece was American European symphonic music and Ameri - Rhapsody . The title Rhapsody in Blue can jazz, such as syncopated rhythms was suggested by the composer’s brother and liberal use of the “blues scale.” The Ira, after his visit to an exhibition of work opens with the famous clarinet paintings by Whistler, which bore titles glissando, which leads directly into the such as Nocturne in Black and Gold and main. What follows is a succession of Arrangement in Gray and Black . long piano solos, alternating with orchestral interludes. The piece con - Rhapsody in Blue is not a “jazz con - cludes with a jazzy romp that ends in certo” but rather a rhapsodic work for one of the most ear-splitting chords ever piano and orchestra with elements of written.

JOHANNES BRAHMS: Symphony No. 1 in C minor, Op. 68 Johannes Brahms was born in Hamburg, Germany on May 7, 1833, and died in Vienna, Austria on April 3, 1897. Symphony No. 1 was written between 1862 and 1876. It premiered on November 4, 1876, in Karlsruhe, Germany under the direc - tion of Felix Otto Dessoff. The symphony is approximately 45 minutes long in a typical performance and is scored for two , two oboes, two clarinets, two bas - soons, contrabassoon, four horns, two trumpets, two trombones, bass trombone (tuba), timpani, and strings.

In 1862 Brahms surprised and delighted ting the spirit of Beethoven. The pres - Clara Schumann, his closest friend and sure was immense: when word got out possibly lover, by sending her the draft that he was finally working on a sym - of the first movement of what was to phony, he had to deflect repeated become his First Symphony . However, it inquiries about his progress. To a friend took Brahms 14 years to complete the he complained: “You have no idea how symphony. Clara’s delight turned to dis - the likes of us feel when we’re always may when Brahms gave no indication of hearing a giant like that behind us!” By the progress on his work. Then, after six “giant” he meant, of course, Beethoven. years, he sent her, on a birthday card, the horn call from the fourth moment. More fundamental for Brahms was his Another eight years elapsed before the uncertainty in writing for orchestra. The symphony was finally completed. C-minor symphony was not Brahms’ first attempt at writing a symphony; eight The long gestation of this work can be years earlier his first venture ended in put down to two factors: the expecta - frustration. He abandoned the project, tions that Brahms’ friends and the pub - but reworked the music in what became lic had of him, and–more significantly– his Piano Concerto No. 1 (this explains Brahms’ own high standards. Brahms why it has “symphony” written all over arrived in Vienna preceded by Robert it). This failure was the beginning of a Schumann’s glowing endorsement: long and elusive quest to find his own Schumann proclaimed Brahms a genius distinctive orchestral sound. In the mean - who would continue “Beethoven’s time, Brahms proceeded to produce inheritance.” This endorsement was a increasingly ambitious orchestral works: mixed blessing, as Brahms felt it his duty the orchestration of the Hungarian to obey Schumann’s urge to produce not Dances , the two serenades for orchestra, just any symphony, but one of appropri - and the German Requiem . Finally, in ate dignity and intellectual scope befit - 1873, came the Variations on a Theme by Haydn , which is the first hearing of simultaneous chromatic lines: one the definitive Brahms orchestra: massive ascending in the strings and one and rich in color and texture, while also descending in the winds, both laid on capable of great delicacy. Brahms felt that top of the relentless timpani strokes. he had, at last, found his orchestral voice Unlike symphonies of the classical and was ready to resume work on his period, in which the slow introduction first symphony. is thematically unrelated to the onset of the sonata form of the first movement, In the end, the hard work paid off. in Brahms’ First Symphony the intro - When the symphony finally premiered duction is fully integrated with the rest in 1876, it was a success. It was felt that of the movement. The ascending chro - he fulfilled his admirers’ expectations, matic scale in the strings provides a so much so that the conductor Hans von “basic motif” for both themes of the Bülow called it “Beethoven’s Tenth.” first movement. The introduction gives Brahms might have received this tribute way to an agitated sonata form in with mixed feelings, as it downplays the which Brahms achieves a high degree of fact that his symphony, while deeply cohesiveness by blurring the demarca - beholden to Beethoven, is a very per - tion lines between thematic units. The sonal and highly innovative work. Von nervous drive continues throughout the Bülow and other of Brahms’ admirers movement until it ends on an unex - might not have realized that the many pected note of quiet resolve. similarities with Beethoven were fully intentional: it was Brahms’ way of The prevailing mood of the second acknowledging his debt to Beethoven. movement is one of calm and solace, a In fact, the First Symphony challenges serene vision of peace typical of the view held in some quarters of Brahms: a simple, yet extremely lyrical Brahms being a traditionalist—or a motif introduced by the solo violin. The conservative, as the supporters of Wag - third movement is not quite a scherzo , ner would have had it. Brahms used the but rather a characteristic Brahms inter - classical forms as tools that offered him mezzo : it is cheerful in a gentle, structure for presenting and organizing restrained way, touched by melancholy, musical ideas, and possibly as a stimu - with a short, animated trio-like section. lus to his musical imagination. How - ever, Brahms was not constrained by The fourth movement is perhaps the the classical form. Like all great creative most innovative feature of the First minds—and much like Beethoven—he Symphony : as long as the first move - did not hesitate to modify the tools he ment, it is the emotional core of the worked with in order to suit his musical symphony. This shifts the whole weight needs. Brahms’ approach to classical of the work to the end. Structurally it is form was transformative, and one may similar to the first movement: a sonata argue that he re-defined the genre for form preceded by a thematically-inte - future generations. It is worth mention - grated slow introduction. This intro - ing that by mid-20th century many duction, much more extensive than the musicians, starting with Arnold Schön - opening of the first movement, is the berg in his essay Brahms, the Progres - most dramatic part of the symphony. sive , considered Brahms to be the first It opens with a poignant, repeated truly modern composer. pleading cry of pain, followed by a stormy passage. The emotional break - The symphony opens with a majestic through arrives when the solo horn slow introduction characterized by two peals forth above the quivering strings with a dignified theme in C major, fol - plagiarism, testily replied that “any ass lowed by a solemn chorale featuring can see that”.) This obvious reference trombones and bassoons (an obvious to Beethoven directs attention away tribute to Bach). For the main section from the fact that this glorious theme is of the movement, the strings introduce actually the beginning of the slow intro - the triumphant theme reminiscent of duction, transposed into the key of the choral theme in the finale of C major. The movement becomes more Beethoven’s Ninth Symphony . (When exultant and culminates in an extended someone remarked on the similarity coda in which the brass chorale from between the two, Brahms—who the movement’s introduction returns in resented the implicit insinuation of a blazingly assertive statement.

THE Artists THE HART HOUSE ORCHESTRA Since 1976 the Hart House Orchestra The Hart House Orchestra comprises has provided an opportunity for musi - about 90 musicians. Membership is cal fellowship among members of the determined annually by audition, open University of Toronto community with to University of Toronto students at all training and interest in performing sym - levels of study, alumni, faculty, staff, and phonic works. The Orchestra is based Hart House senior members. Reflecting in Hart House, a unique cultural and the great diversity of the University of recreational centre at the heart of the Toronto community, the Orchestra knits University of Toronto’s St. George together talented musicians across all Campus in downtown Toronto. disciplines and professions through the joy of performing challenging sym - tra travels with one concert each year to phonic works in an ambitious program another city, in the process raising of four distinctive concerts annually. The funds for various local charitable Orchestra’s ethos is captured well by causes. The Hart House Orchestra is “Music should be a live thing that com - celebrating its 40th anniversary and municates between live people, and in Canada’s sesquicentennial with its first that way there is absolutely nothing like concert in New York City. The concert it” (Sir Simon Rattle). program, featuring Canadian and American symphonic pieces to honor In addition to the four concerts in the both countries, is completed by Great Hall at Hart House, the Orches - Brahms’ Symphony No. 1.

HENRY JANZEN, Conductor and Music Director

Henry Janzen has worked with illustri - ous conductors from Europe and North America, including Raymond Leppard and Antal Dorati, and for over three decades has served with distinction as conductor of many orchestras and choirs across Michigan and Ontario, with the occasional European tour. His performance of Messiah in Guelph, in the then largest venue in that city, was a much oversubscribed sell-out.

As a violist, Mr. Janzen’s formative influences include master classes with Menahem Pressler and William Prim - rose at the Banff School of Fine Arts coupled with advanced studies in New Henry Ford II. He was featured in the York City with renowned pedagogues string quartet for In the Nick of Time Lillian Fuchs, Arianna Bronne, Raphael starring Lloyd Bridges. Among various Bronstein, and Nathan Gordon. Mr. CBC Canada productions, he has Janzen’s work in New York City and worked with author W.O. Mitchell. Detroit include the world premiere of Stephen Paulus’ So Hallowed is the Mr. Janzen has served his profession Time . He also appeared with the New effectively as president of the Canadian York String Ensemble and with the Viola Society and secretary of the Inter - Korean Choirs of Greater New York. national Viola Society. In addition to his Other performances include playing for performing and conducting activities, he Pope John Paul II, then-VP George teaches applied and chamber music in Bush, Luciano Pavarotti, Diana Krall, the School of Fine Art and Music at the and the private funeral ceremony for University of Guelph. BENJAMIN SMITH, Piano included a recital in Weill Recital Hall with Canadian cellist Dongkyun An, as well as multiple recitals with acclaimed violinist Martin Beaver (Tokyo String Quartet). A recording of new cello tran - scriptions with Mr. An was released this past December, and recordings cur - rently in production include an album of newly commissioned chamber works featuring various Native flutes and Toronto’s Grammy-nominated virtuoso Ron Korb.

Devoting considerable time to chamber music, Dr. Smith has been heard nation - ally in Canada on CBC Radio 2 and Described as a “thoughtful and Toronto’s Classical 96.3FM. He has immensely exciting performer” with partnered in recital with renowned “scintillating technique” ( Barrie Exam - artists including Colin Carr, Jacques iner ), pianist Benjamin Smith has per - Israelievitch, Joaquin Valdepeñas, Wolf - formed as soloist and chamber musi - gang Redik (formerly of the Vienna cian across both Canada and the United Piano Trio), Bartosz Bryla, Mark Fewer, States. He has been a laureate of numer - Bonnie Hampton, and William Ver - ous competitions, including the Dublin Meulen, as well as with ensembles such International Piano Competition, Vir - as the Annex and Cecilia string quar - ginia Waring International Piano Com - tets. For two seasons he performed as petition, and CMC Stepping Stone one-third of the Israelievitch-Smith-Ahn Competition. Guest appearances piano trio. Involved with music of our include the Stony Brook Symphony time as well, he is a regular member of Orchestra, New Juilliard Ensemble, the Esprit Orchestra in Toronto, and Ontario Philharmonic, Orchestra Lon - has worked under prominent conduc - don, Symphony-on-the-Bay, Windsor tors Joel Sachs, Steven Schick, and Symphony, and the Hart House Orches - Werner Herbers, as well as with com - tra in 2012. As soloist, he has per - posers John Corigliano, Reinaldo formed under esteemed conductors Moya, and Chandler Carter. such as Rossen Milanov and Marco Parisotto, with concertos including rar - Dr. Smith currently resides in Toronto, ities such as the Schoenberg Piano Con - working as a lecturer, coach, and col - certo. Festival appearances include laborator for the Glenn Gould School Toronto Summer Music, Banff Summer (GGS) and the Taylor Young Artist Arts, Stratford Summer Music, Colours Academy at the Royal Conservatory of of Music (Barrie), and Music Niagara. Music. Previously, he held a position on American performances include recitals the piano faculty at the University of for the Texas Chopin Society and Western Ontario, and has also served as Chicago’s Landowska Harpsichord an undergraduate piano instructor for Society, as well a world premiere for the department of music at Stony Brook the Long Leaf Opera Festival in University. His principal teachers Raleigh, NC. Recent highlights have included Andrea Battista, James Anag - noson, Julian Martin, and Christina degree from the University of Toronto, Dahl. Along with a DMA from Stony an artist diploma from the GGS, and a Brook University, he holds a bachelor’s master’s from The Juilliard School.

HART HOUSE Historic Hart House is the principal campuses to delight in discovery of the center for education outside the class - arts, culture, debates, dialogue, recre - room at the University of Toronto. It is ation, wellness and community-engaged a unique and inclusive gathering place learning. Creating their own communi - for students, alumni, faculty, and the ties of interest, students gain experience broader community. Open 365 days as leaders and decision-makers, becom - each year, Hart House welcomes all ing more informed and engaged local students from the university’s three and global citizens. HART HOUSE ORCHESTRA VIOLIN VIOLA BASSOON Joanna Tang (C) Luca Casciato (CP) Aliena McIntyre (P) Haruna Monri (AC) Julian Fisher (CP) Roland Wilk (AP) Timothy Leung (P) Elizabeth Brubaker Tanith Jones Julianne Fong (AP) Jack Chao Lindsay Cho Anan Guo CONTRABASSOON Nicole Desaulnier Bennett Leong Roland Wilk Elizabeth Domb Arn Macpherson Stephen Erlichman Elliott McMurchy SAXOPHONE Hans Fischer Jacky Park Cindy Ding Alec Gibson Kathleen Walsh Lilian Gien Elisabeth Widner HORN Paula Glick Iain Watson (P) Rod Gonzaga VIOLINCELLO Duncan Andrews Helen Hayes Lynn Wei (P) Angela Chi Yilin Huang Christopher Acconcia Kathleen Stanley Lauren Ip Steven Cho Kenny Kim Lee-Chia Huang TRUMPET Tiffany Kuo Blanche Israel Tim Hendrickson (P) Benjamin Lai Maia Johnstone David Forsey Sophia Lee Meital Kuchar Miranda Lees David Kwan TROMBONE Esther Lenkinski Tom Lee Tim Allman Kevin Leung Richard Mills David Arnot-Johnston Xiaoyang Li Natalie Yeung Tian Lin TUBA Jacklyn Liu DOUBLE BASS Vanessa Clayton Judith Marshall David McElroy (P) Peter Martin Jacky Wu TIMPANI Tsukiko Miyata Yuka Fukuda (P) Joseph Nachman FLUTE Eric Ordonez Sharon Greene (P) PERCUSSION Anil Partridge Laura Bolt (AP) Sarah Buisman Chanel Quan Peggy Radin Simon Jarvis Ayala Revah Renee Willmon Caitlin Roos PIANO Guadalupe Santos OBOE Benjamin Smith Kate Sohn Jolie Chrisman (CP) Eugene Tseng Phoenix Zhang (CP) Lucy Wang Christine Cousins C Concertmaster Perry Wong AC Assistant concertmaster Charlotte Wong Labow CLARINET P Principal Fei Ye Elizabeth Day (P) CP Co-principal Tina Ye Jongmin Lee (AP) AP Assistant principal Seanna Yoon Cindy Ding Freda Zhang