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178 A G O 2 0 1 0 DAY AT A GLANCE Thursday, July 8 MORNING 7 a.m. Registration and hospitality open 8:30 a.m. Load Buses 9:30 - 10:15 a.m. Concert: St. Paul’s Episcopal Church, Rock Creek Parish (Parish Hall) Fessenden Chamber Winds Ensemble Organ recital: Crypt Church, Basilica of the National Shrine of the Immaculate Conception (Roman Catholic) James David Christie Organ improvisation recital: Church of Mount St. Sepulchre and Franciscan Monastery (Roman Catholic) Matthew Glandorf and The Six Organ recital: St. Paul’s Episcopal Church, Rock Creek Parish (Church) Ulrike Theresia Wegele 10 a.m. -11:15 a.m. Organ recital: National Presbyterian Church Nathan Laube (one recital only) 10:45 a.m. Buses to area churches 10:45 - 11:30 a.m. Concert: St. Paul’s Episcopal Church, Rock Creek Parish Fessenden Chamber Winds Ensemble Organ recital: Crypt Church, Basilica of the National Shrine of the Immaculate Conception James David Christie Organ improvisation recital: Church of Mount St. Sepulchre and Franciscan Monastery THURSDAY Matthew Glandorf and The Six Organ recital: St. Paul’s Episcopal Church, Rock Creek Parish (Church) Ulrike Theresia Wegele 11:30 a.m. Buses to Marriott Wardman Park Hotel (for those who elect to not attend workshops) Lunch on your own A G O 2 0 1 0 179 DAY AT A GLANCE Thursday, July 8 AFTERNOON 12 p.m. -3:30 p.m. Exhibits open 1 p.m. -2:30 p.m. Workshops—Session VI 3:30 - 4:30 p.m. Regional Meetings at Marriott Wardman Park Hotel Region I New England Wilson B Region II New York/New Jersey/Europe) Washington 1 Region III (Mid-Atlantic) Washington 5 and 6 Region IV (Southeast) Thurgood Marshall North Region V (Great Lakes) Thurgood Marshall South Region VI (North Central) Thurgood Marshall East Region VII (Southwest) Harding Region VIII (Pacific Northwest) Wilson A Region IX (Far West/Korea/Singapore/Australia) Thurgood Marshall West 5 p.m. Dinner on your own EVENING 7 p.m. Load Buses for the Basilica of the National Shrine of the Immaculate Conception 7:30 p.m. Carillon Recital: Robert Grogan, carillonneur 8 p.m. - 9:15 p.m. Closing Concert—Basilica of the National Shrine of the Immaculate Conception The Choir of the Basilica, Peter Latona, director The Washington Chorus, Julian Wachner, music director Renée Anne Louprette, organ David Briggs, organ 9:15 p.m. Buses to Marriott Wardman Park Hotel 9:45 p.m. Reception/Cash bar Meet the Artists booth open THURSDAY 180 A G O 2 0 1 0 PROGRAM Thursday, July 8. 9:30 and 10:45 a.m. CONCERT Fessenden Chamber Winds Ensemble Bagatelles, Op. 47 Antonin Dvorak (1841-1904) III. Allegretto Scherzando IV. Andante con moto V. Poco Allegro Church Sonata in F Major, K. 244 Church Sonata in C Major, K. 336 Wolfgang Amadeus Mozart (1756-1791) Eric Plutz, organ Serenade in D Major, Op. 11 Johannes Brahms (1833-1897) IV. Minuetto I & II VI. Rondo (Allegro) THE VENUE St. Paul’s Center in Rock Creek The Karl Wilhelm chamber organ was provided by William Neil, organist Parish was built in 1928 as the of the National Symphony Orchestra and National Presbyterian Church. parish hall in colonial design The organ has four stops: 8’ Flute, 4’ Flute, 2’ Octave, and 1-1/3’ Quintflote. with colonnade portico, spacious auditorium and stage, numerous class rooms and modern kitchen. It is a large, stately brick building located 250 yards from the church. THE PERFORMERS Today, it houses the church and cemetery administrative offices, a dining room and fully equipped commercial kitchen, and a large auditorium referred to as the Great Hall with stage suitable for concerts and performances. Renamed the St. Paul’s Center in 2004, the building has been expanded to add the Gallery, a large, long room with access to a courtyard for receptions and dinners and the administrative office wing. On the lawn in front of the Parish House stands a 65- foot flag pole, erected in 1940 by the Daughters of the American Fessenden Chamber Winds Ensemble Colonists, District of Columbia Society, in recognition of St. Paul’s Church as the only colonial church ince its founding in 2000 by artistic director and French horn player Emil still extant within the bounds of the SGeorge, the Fessenden Chamber Winds Ensemble has been recognized as District of Columbia. one of the finest chamber music groups in the Washington area. The ensemble is known for the musical diversity of its programs, which explore the wide variety of styles and instrumental combinations in the chamber repertory. Fessenden continued on the next page A G O 2 0 1 0 181 THE PERFORMERS, CONTINUED concerts include seldom-heard works The group has earned high praise in Binneweg, the ensemble gave a rare of unfamiliar composers as well local media: “one of Washington’s performance of Samuel Barber’s as both standard and unexpected most consistently interesting chamber Medea, originally commissioned works of the major composers. The groups,” “a beautifully calibrated by Martha Graham for her ballet ensemble has brought this richness to performance,” (The Washington Post). Cave of the Heart, and the American superb performances at the Corcoran premiere of the recently released 1921 Gallery of Art, Katzen Arts Center at Distinctive chamber music is the chamber version of Anton Bruckner’s American University, Weinberg Center Fessenden Ensemble’s motto, and in Symphony No. 7. for the Arts, Rock Creek Festival, and keeping with this spirit, the ensemble other venues in Washington. They has been honored to perform both The Fessenden Ensemble maintains an have appeared on the Embassy Series local and American premieres. It has active program of educational concerts and in live concerts on Washington, programmed three pieces by American and master classes in DC public DC’s Classical WETA 90.9 FM’s “Front composer Eric Ewazen, including the schools. For more information, visit Row Washington.” The ensemble’s world premiere in 2007 of his Trio www.fessendenensemble.org. primary venue is its own concert series, for Trumpet, Cello, and Piano. In its Please see page 83 for a biography now in its tenth season. 2008 season, with conductor Anna of Eric Plutz. PROGRAM NOTES by Mary Dell Jenkins and John Hanson tinged, being a minor key version of successful, in fact, that it is difficult the song Hrály dudy (“The bagpipes to think of it in chamber terms. Five Bagatelles, Op. 47 played”). These cheerful and poetic Antonín Dvorák wrote the Bagatelles miniatures probably fed off the same This early Brahms piece is thoroughly in less than two weeks at the inspiration as the Slavonic Dances. suffused with a pastoral atmosphere. beginning of May, 1878, while he was It is joyous and outgoing, with none working on the first set of Slavonic Today’s performance uses an of the brooding, melancholy, wistful Dances. It was originally scored for arrangement of the original work Brahms of later years. It is also rooted two violins, cello, and harmonium. and is scored for five winds and five in the past, stylistically pervaded At the time, the harmonium was an strings. The result is that the local or by eighteenth-century classicism. important focus for domestic music regional color borne by the original The succession of movements is making. In the late 1870s and 1880s, harmonium has spread to and is freer than that of a four-movement Dvorák regularly played chamber now carried by other instruments, to symphony, yet the Serenade has music with friends at the home great effect. some symphonic characteristics, of Josef Srb-Debrnov, a friend of Serenade in D, Op. 11 and many see in these movements Smetana, among others. Among the precursors of Brahms’s later and Johannes Brahms’s Serenade players were both professionals and (music for evening entertainment at larger works, or allusions to Haydn amateurs, with Dvorák usually on court) has an interesting history. It or Beethoven’s early symphonies. the viola. This relaxed environment premiered in 1859, in Hamburg, as a was where the Bagatelles were first serenade after the manner of Haydn, The sonata-form first movement opens aired. The unusual instrumental or at least in the spirit of Haydn, with with a delightful horn melody over a combination was probably dictated nonet instrumentation: flute, two bagpipe-like drone, soon blossoming by the lack of a piano at the home of clarinets, horn, bassoon, two violins, out in full cry with that theme. There Debrnov. The harmonium was likely viola, and cello. It was perhaps this are two scherzos, the first somewhat played by Dvorák himself, since performance—or, as some would melancholic. The adagio is dignified there is no viola part in the score. have it, Clara Schumann’s opinion— and expressive. The two minuets, in classical fashion, are delightful pieces Many find the Bagatelles filled with that sparked the decision to rewrite it for full orchestra. Brahms proceeded and not at all symphonic. Then there local Czech color, reminiscent is the terse second scherzo, showing of Dvorák’s small-town roots in to do so, and it premiered in 1860 in Hannover. In that form, it has Brahms’s contrapuntal skills, leading Nelahozeves and Zionice. The to the energetic rondo finale. opening measures are nationally- become a popular concert piece—so 182 A G O 2 0 1 0 A G O 2 0 1 0 183 PROGRAM Thursday, July 8. 9:30 and 10:45 a.m. ORGAN RECITAL James David Christie Praeambulum in D Heinrich Scheidemann (1596-1663) Daphne (3 variations) Camphuysen manuscript Anonymous Dutch, 16th century Veni Sancte Spiritus (10 versets) Peter Philips (ca.