BOSTON

James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 129th Season, 2009-2010 g=*

COMMUNITY CONCERT III

Sunday, November 15, at 3, at Tuckerman Hall in Worcester

COMMUNITY CONCERT IV Sunday, November 22, at 3, at Fuller Craft Museum in Brockton

The free Community Concerts are made possible by a generous grant from The Lowell Institute.

JULIANNE LEE, (Rolla; Dohnanyi) CATHERINE FRENCH, violin (1st violin in Debussy) SI-JING HUANG, violin (2nd violin in Debussy) EDWARD GAZOULEAS, BLAISE DEJARDIN,

ROLLA Duo concertant in C for violin and viola, Opus 6, No. 1 Allegro Cavatina. Andante Rondo. Allegretto

DOHNANYI in C for violin, viola, and cello, Opus 10 Marcia. Allegro Romanza. Adagio non troppo, quasi andante Scherzo. Vivace Tema con variazioni. Andante con moto Rondo (Finale). Allegro vivace

DEBUSSY String in G minor, Opus 10

Anime et tres decide Assez vif et bien rythme Andantino, doucement expressif Tres modere

Weeks 6/7 Alessandro Rolla (1757-1841)

Duo concertant in C for violin and viola, Opus 6, No. 1

Alessandro Rolla was nearly an exact contemporary of W.A. Mozart but out- lived him by fifty years. Born in Pavia, near , he was already well-known in his teens as a violin and viola virtuoso and . In 1782 he became principal viola of the orchestra of the Duke of Parma, where he remained for twenty years. In 1802 he became director of opera in Milan, remaining until 1833; in 1808 he became director of the new Milan Conservatory. As a conductor at La Scala and in concerts, Rolla was remarkable for his control of the orchestra as well as his catholic repertoire, which included Beethoven's . He also introduced several of Mozart's operas to La Scala audi- ences. Strangely, he wrote no operas in spite of his close involvement with the medium. He wrote a dozen symphonies and numerous , as well as a large body of , including more than a hundred duos for two and nearly eighty surviving duos for violin and viola, plus pedagogical studies. His works were known and published throughout Europe. Stylistically, Rolla had an Italian's sense of instrumental brilliance and also drew on the styles of Mozart and Haydn. "Composed for and dedicated to His Majesty Charles IV, King of Spain," the Duo concertant in C for violin and viola was written no later than 1808. Although one might expect the violin to take the lead in this pairing, the duo shows an almost perfect balance between the violin and the viola. The instru- ments are intertwined to an extent that they frequently flip positions, the viola going high while the violin is in its lowest register, and both fill out the harmony with arpeggios and double-stops. The Allegro first movement is characterized by the march-invoking dotted-note phrase at its start, as well as by much sparkling passagework between the two instruments, with almost constant sixteenth- note motion. The second movement, in F major, is a sweet Cavatina, which takes its name from a kind of opera aria—hence the singing quality of the viola's opening melody. Although written in 3/4, the movement is really in a lilting 9/8. The finale is a rondo, its recurring theme again featuring march-like dotted figures. A central section features a descent into a warmer harmonic realm. The dotted-note figure, intermixed with quick triplet runs, propels the final measures—but the apparent concluding cadence is a feint worthy of Haydn, and the piece skitters to its true close pianissimo. —Robert Kirzinger

Erno Dohnanyi (1877-1960) Serenade in C for violin, viola, and cello, Opus 10

Although he grew up in an environment that produced some important nation- alist (Kodaly and Bartok), Erno Dohnanyi always stayed much closer to the main German traditions of late Romantic music, especially that of Brahms, whose influence on him was profound. The present serenade was pub- lished in 1904, when the composer was twenty-seven years old; he had already

established himself with his Opus 1, a piano quintet praised by Brahms himself, and the present Opus 10 would attract the attention of Donald Francis Tovey, as one of the very few great compositions structure in which those arrivals are determined less by the sequence of harmonies who hailed it, in an extended analysis, days of Mozart and Beethoven. preceding them than by the juxtaposition of those harmonies against each other, as for three stringed instruments since the the music through contrasting, juxtaposed areas of different Nonetheless, the serenade, with its five movements and their characteristic moves "key colors." piece (especially since it lacks Insofar as its thematic material is concerned, Debussy's first movement does titles, is more of a suite than a traditional chamber lively march of the opening includes a Trio suggest a -form movement, with a vigorous first theme, a transitional a sonata-form first movement). The "bridge" idea, and a more relaxed, lyrical contrasting theme (marked et suggesting a folk melody, with the steady accompanying drone. This Trio returns "doux expressif") which will assume a role in the development section virtually equal to briefly in the finale, along with the rhythmic pattern of the march, to round off following the Trio, that of the main idea. The cyclical scheme becomes apparent at the opening of the the work as a whole. The scherzo has a rapid fugal opening; major scherzo when, following four introductory chords in the first both scherzo theme and Trio recur as part of a double fugue—heavy learning G violin cello, the viola gives out a transformation of the opening indeed, though worn lightly. The variation movement is the most serious part of and 6/8 move- ment's main idea. The atmospheric Trio section presents an augmented version the serenade; its quiet unfolding in a rich, romantic way is filled with marvels of invention for the three instruments. of the same theme in the first violin, supported initially by a cushion of sixteenth- note figuration in the middle strings and a pizzicato pulse in the cello. A rather —Steven Ledbetter exotic transformation of the main theme precedes the written out da capo, in which the theme is implied within the vigorous pizzicato texture rather than Claude Debussy (1862-1918) directly stated. String Quartet in G minor, Opus 10 The third-movement Andantino is a melancholy song beginning and ending in The thirty-year-old Claude Debussy completed his "Premier Quatuor en sol D-flat. Franck's influence is present here in the music's harmony and lyricism, mineur, Op. 10" ("Quartet No. 1 in G minor, Op. 10") in February 1893. It had and perhaps in a suggestion—in the rocking melody heard at the outset—of the its first performance on December 29 that year, when it was played by Eugene D minor Symphony, which had been premiered at the Conservatoire in February Ysaye's string quartet at a concert of the Societe Nationale. Debussy biographer 1889. Debussy does not choose explicitly to rework his main theme within the slow Edward Lockspeiser suggests that Debussy's specification of key and opus number movement itself. Though the middle section of the Andantino makes reference to may have been ironic, merely a "concession to meticulous methods of classifying the second theme of the first movement, hints of the main theme reappear only chamber works," since this is the only instance in the composer's output of a in the slow introduction to the finale. The lively finale proper once again clothes specified key and opus number. That the piece itself would seem to represent the main theme in a variety of new guises, reserving a "real" statement (in experimentation on Debussy's part within a genre to which he would not normally slightly augmented form) until near the end, followed by a double reference to have been drawn is suggested by works premiered by the Societe Nationale both the second theme, after which a driving coda closes the movement in a vigorous before and after the quartet (the "lyric poem" La Damoiselle elue on April 8, 1893, wash of G major. and the Prelude to The Afternoon of a Faun in December 1894), both being more —Marc Mandel suggestive of the composer's broader interests and later output. The impetus to write a quartet may in fact have come from Debussy's close A member of the Boston Symphony Orchestra since 2007, Julianne Lee recently friendship, from 1892 until it was broken off early in 1894, with Ernest Chausson, received the Presser Music Award. She made her solo debut at age seven with a pupil of Cesar Franck's—an idea supported by Debussy's use in his quartet of the Lake Placid Symphonietta and has also appeared as soloist with the KBS the Franckian device of a cyclical musical scheme based almost entirely on trans- Symphony Orchestra in Korea and the Baden-Baden Philharmonie in Germany. formation of the opening theme. A letter from Debussy to Chausson suggests Her chamber music collaborations include concerts with such renowned artists Debussy's disappointment over Chausson's reaction to his work; he even goes so as Joseph Silverstein, Peter Wiley, Roger Tapping, Samuel Rhodes, and Arnold far as promising to write another quartet, in which he would bring "more dignity Steinhardt. Ms. Lee has participated at the Marlboro Music Festival and Santa Fe to the form." But aside from a Rapsodie for saxophone and piano completed in Chamber Music Festival and toured Europe with the Australian Chamber Orches- 1908, and two pieces for clarinet and piano written for the annual examinations tra as guest principal violist. She holds a bachelor's degree in violin performance at the Conservatoire in 1910, Debussy did not again give serious consideration to and a diploma in viola performance from the Curtis Institute of Music, where she writing chamber music until his last few years, when between 1915 and 1917 he studied with Victor Danchenko, Joseph Silverstein and Joseph DePasquale. She composed the Cello Sonata, the Sonata for flute, viola, and harp, and the Violin received her master's degree from the New England Conservatory of Music, work- Sonata, three of six projected he did not live to complete. ing with Donald Weilerstein and Kim Kashkashian. Even within the formal constraints imposed by the quartet genre, Debussy is able to emphasize the traits that will characterize his music throughout his life: Catherine French is a native of Victoria, British Columbia, where she began Suzuki we primacy of instrumental timbres and coloristic harmonies; a concern with studies on the violin at age four. A frequent soloist, Ms. French has performed musical development achieved through the evocation and contrast of colors with the Toronto Symphony Orchestra, Manitoba Chamber Orchestra, Edmonton and moods; and the placement of tonal arrivals to project and support a musical Symphony Orchestra, Calgary Philharmonic, and Symphony Nova Scotia; she made her Carnegie Hall debut in 1992 with the Senior Concert Orchestra of New group Collage. He was a prizewinner at the International String Quartet Com- York under the baton of David Gilbert. Recital appearances include performances petition in Evian France and has performed with members of the Muir, Lydian D.C., and Audubon string . Mr. Gazouleas has held teaching in New York, Montreal, Winnipeg, Calgary, Toronto, Washington, and positions at Marlboro, Vermont, as a participant in the 1993 Marlboro Music Festival. She Temple University and Wellesley College and was a member of the Pittsburgh has received numerous study grants from the Canada Council, Alberta Culture, Symphony under Lorin Maazel. He attended Yale and is a graduate of the Alberta Foundation for the Performing Arts, Manitoba Arts Council, and Curtis Institute, where he studied with Michael Tree and Karen Tuttle. Chalmers Fund. Ms. French won grand prize at the National Competitive Festival of Music in 1986 and was the overall winner of the Canadian Music Born in Strasbourg, France, in 1984, Blaise Dejardin joined the Boston Sym- Orchestra cello section at the start of the 2008-09 Competition in 1988. She won first prize in the CBC Young Artists Competition phony season. He holds a first in 1989 and in 1990 won the competition at Indiana University, where prize in cello with highest honors from the Conservatoire National Superieur she was a student of Miriam Fried. Ms. French graduated from Indiana Uni- de Musique of , as well as master of music and graduate diplomas from versity in 1990 with a bachelor's degree and later earned a professional studies the New England Conservatory in Boston. His main teachers were Philippe

diploma at Marines College of Music as a student of Felix Galimir. In May 1994 Muller, Laurence Lesser, and Bernard Greenhouse. Mr. Dejardin is the recipient

she received her master's degree from the Juilliard School as a student of Joel of awards and scholarships funded by the Gregor Piatigorsky Fund, the Ful- Smirnoff. Ms. French joined the Boston Symphony Orchestra violin section in bright Foundation, the Singer-Polignac Foundation, and the CulturesFrance September 1994. Foundation. First-prize winner at the Maurice Gendron International Cello Competition in France, he also became the youngest prizewinner at the 6th

Si-Jing Huang joined the Boston Symphony Orchestra at the beginning of the Adam International Cello Competition in New Zealand. As a soloist, he per-

1989-90 season, after graduating from the Juilliard School in New York in May formed with the Christchurch Symphony Orchestra, the Kuopio Symphony Or- 1989. He occupies the Catherine and Paul Buttenwieser Chair in the BSO's first chestra, the French Camerata, and various other ensembles. His performances violin section. A winner of the Young Concert Artists Auditions held in Hawaii, were broadcast on such radio stations as France-Musique, YLE, Radio New he also received the Lincoln Center Scholarship, among other scholarships and Zealand, and VPR. An active performer of new music, Blaise Dejardin gave the

awards. His teachers included Glenn Dicterow and Dorothy DeLay, as well as U.S. premiere of French composer Edith Canat de Chizy's Les Formes du vent for his father, Da-Ying Huang. A former member of the Juilliard Orchestra, he has cello solo by in 2008. A passionate chamber musician, he has performed in participated in the Aspen and Taos chamber music festivals, toured the United many festivals in France and was invited to participate for two summers at the States with the Classical String Players, and continues to perform internationally Steans Institute of the Ravinia Festival in Chicago. From 2001 to 2004, Blaise with the Hawthorne String Quartet. Dejardin was a member of the European Union Youth Orchestra and the Gus-

tav Mahler Jungendorchester. He is also a founding member of the chamber or- Violist Edward Gazouleas occupies the Lois and Harlan Anderson Chair in the chestra A Far Cry. Boston Symphony Orchestra's viola section, and is on the faculties of Boston University College of Fine Arts and the Tanglewood Music Center. An active recitalist and chamber music player, he has appeared recently with the Boston Artists Ensemble, the Boston Symphony Chamber Players, and the new music

Upcoming Community Concerts THE BSO ONLINE CHAMBER MUSIC PERFORMED BY MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA

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