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Jerusalem Symphony Orchestra, IBA Leon Botstein, Musical Director & Conductor

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Jerusalem Symphony Orchestra, IBA Leon Botstein, Musical Director & Conductor Cal Performances Presents Sunday, October 26, 2008, 7pm Zellerbach Hall Jerusalem Symphony Orchestra, IBA Leon Botstein, Musical Director & Conductor with Robert McDuffie,violin PROGRAM Ernst Toch (1887–1964) Big Ben, Variation Fantasy on the Westminster Chimes, Op. 62 (1934) Miklós Rózsa (1907–1995) Violin Concerto, Op. 24 (1953–1954) Robert McDuffie, violin Allegro Lento cantabile Allegro vivace INTERMISSION Aaron Copland (1900–1990) Symphony No. 3 (1944–1946) Molto moderato Allegro molto Andantino quasi allegretto Molto deliberator — Allegro risoluto Program subject to change. The 2008 U.S. tour of the Jerusalem Symphony Orchestra is made possible by Stewart and Lynda Resnick, El Al Airlines and Friends of the Jerusalem Symphony Orchestra. Cal Performances’ 2008–2009 season is sponsored by Wells Fargo Bank. CAL PERFORMANCES 19 Orchestra Roster Orchestra Roster Jerusalem Symphony Orchestra, IBA Leon Botstein, Musical Director & Conductor Bass Clarinet Tuba Sigal Hechtlinger Guy Hardan, Principal Violin I Cello Bassoon Timpani Jenny Hunigen, Concertmaster Irit Assayas, Principal Richard Paley, Principal Yoav Lifshitz, Principal Ayuni Anna Paul, Concertmaster Ina-Esther Joost Ben Sassoon, Principal Alexander Fine, Assistant Principal Yuri Glukhovsky, Assistant Concertmaster Oleg Stolpner, Assistant Principal Barbara Schmutzler Percussion Marina Schwartz Boris Mihanovski Merav Askayo, Principal Vitali Remenuik Yaghi Malka Peled Contrabassoon Mitsunori Kambe Olga Fabricant Emilya Kazewman Rivkin Barbara Schmutzler Yonathan Givoni Michael Schvartzman Tzalel Mendelson Tom Betzalel Bea Sharon-Chrishan Corneliu Faur Horn Erez Meshiah Eduard Kosovich Lilya Kvartich-Flaksman Eyal Vilner, Principal Yevgeny Voskoboynikov Tomer Yosha Kyle Hoyt, Assistant Principal Harp Fradiana Tsaliovich Stephen Slater Zinaida Suchobak Inna Tilis Double Bass Benjamin Greenberg Rivka Arki Amar Albert Gantman Eitan Reich, Assistant Principal Aaron Korn Elina Gurevich Vladimir Rivkin Librarian Uri Arbel Trumpet Olga Stolpner Violin II Lahav Shany Dmitri Levitas, Principal Victor Salomon, Principal David Tenenbaum Richard Berlin, Assistant Principal Personnel Assistant Elina Yanovitsky, Principal Nadav Lachish Rhona Brosch Carmen Lehner Vitali Ostrowsky, Assistant Principal Matan Gurevitz Eduard Kuskin Raphael Rivkin Ron Merhavi Administration Mark Bardenstein Trombone Haim Shaham, General Manager Eleonora Spichko Flute Shahar Livne Ziva Almagor, Production Manager Michael Tsinkin Noam Buchman, Principal Roman Krasner Chaim Oz, Stage Manager Adrian Bugichi Rami Tal, Assistant Principal AlIa Skurkovich Vladimir Silva Bass Trombone Lehner Carmen Hagit Parnes Shai Nissenboim Guberman Polina Emma Milman Yehudin Piccolo Vladimir Silva Viola Richard Assayas, Principal Oboe Amos Boasson, Principal Demetrios Karamintzas, Principal Sightlines Michael Damian, Assistant Principal Ronald Engel, Assistant Principal Michael Ferdman Roni Gal-Ed, Assistant Principal Jerusalem Symphony Orchestra Moshe Lifshitz Sunday, October 26, 2008, 6–6:30pm Mark Lotkin Clarinet Zellerbach Hall Alexander Tumarison Gershon Dembinsky, Principal Pre-performance talk by Professor Beth Levy, UC Davis Department of Music. Vaclav Ioffe Victor Berlin, Assistant Principal Alex Shoihet Sigal Hechtlinger Doron Alperin Ido Azrad 20 CAL PERFORMANCES CAL PERFORMANCES 21 Program Notes Program Notes Ernst Toch (1887–1964) Miklós Rózsa (1907–1995) Big Ben, Variation Fantasy on the Westminster Chimes, Op. 62 (1934) Violin Concerto, Op. 24 (1953–1954) Miklós Rózsa is probably best known for his film tour. When six months went by without another Educated at the famed Vienna Conservatory, Ernst Southern California, where he composed music. Born in 1907 to a wealthy father and con- word from the violinist, Rózsa lost hope that he Toch had great successes early in his career. He be- seven symphonies largely in the late Romantic style cert pianist mother, he began his composing career would work with him. Eventually, Heifetz called gan teaching at the Mannheim Hochschule für of his early compositions. at the age of seven. Like his mother’s classmate Rózsa, and the composer thought that it was a Musik in 1913 after a period of study in Frankfurt The Big Ben Variations is necessarily one of from the Budapest Academy, Béla Bartók, Rózsa friend playing a practical joke on him, saying, “If and receiving the Mozart prize. Toch served with Toch’s more tonal works, having been built on the had a lifelong interest in traditional Hungarian you’re Heifetz, I’m Mozart!” Fortunately for all of the Austrian army during World War I, and his well-known four-pitch theme of E–C–D–G. The folk music. us, the composer did recover from the most embar- compositions after that were tinged with his expe- work is remarkable in how the chime theme is so Following his formal musical education at the rassing moment of his career. riences of war. His pre-war works were clearly in well hidden in the harmonic texture, chromatic Leipzig Conservatory, his works were being pub- He then collaborated with the great violin- the vein of Brahms, where his post-war works took melodies and harmonies and even in the timpani. lished by Bretikopf & Härtel. He moved to Paris ist to fine tune the violin part. The concerto was a starkly new direction. This new direction gave At one point, the theme is woven into an almost in 1931, where he completed his Theme, Variations later adapted for the 1970 film, The Private Life of him prominence in the European avant-garde mu- 12-tone fugue, and one historian even compared it and Finale, earning him international fame. In Sherlock Holmes. The film’s director, Billy Wilder, sical style, and his contribution to Gebrauchsmusik, to a musical version of “Where’s Waldo?” 1937 and 1938, Rózsa was awarded the Franz is said to have been inspired by the concerto and a popular new technique in the late 1920s and Toch’s grandson, writer Lawrence Weschler, Joseph Prize from Budapest in honor of his musi- based his plot on it. This is actually in opposition 1930s, was his 1930 Fuge aus der Geographie for relates that his grandmother loved to tell the story cal achievements. to what Rózsa claimed in his memoirs, Double Life, speaking chorus. of the night before they sailed to America. Toch He began his film composing career though in which he wrote: “My ‘public’ career as composer While Toch and Richard Strauss were rep- spent that evening out on the streets of London his friend Arthur Honegger, and between 1935 for films ran alongside my ‘private’ development as resenting Germany at the Maggio Musicale in with his music paper to take down the exact, 60- and 1939 found himself going back and forth be- composer for myself, or at least for nonutilitarian Florence, Hitler seized power. Toch decided to flee note theme. A passing constable found him very tween Paris and London while composing music purposes: two parallel lines, and in the interests the country at that time and went to Paris. There suspiciously scribbling in the strange notebook, for London-based films. In 1940, his film-scoring of both my concern has always been to prevent was little work for him there, making it necessary and thought he might be a spy. career landed him in Hollywood, where he became their meeting.” for him to move further on to London. Under Toch, himself, wrote about the work: a staff member at MGM. While writing scores The concerto is in the traditional three move- the influence of Berthold Viertel and Elisabeth for more than 100 films, he maintained a busy ments, opening with an Allegro that introduces the Bergner, he was able to begin writing music for the The suggestion for the Big Ben Variations schedule teaching film music at the University of theme that is at once a technical feat and at the cinema, composing for three films in 1934. A year came to me during my stay in London dur- Southern California from 1945 to 1965. same time romantic. The violin is clearly in charge later, an invitation to join the faculty of the New ing the winter of 1933–34. Once, on a foggy Magyar and Hungarian folk music play an im- in this gypsy-influenced movement with the or- School for Social Research—or the “University night, while I was crossing the Westminster portant role in Rózsa’s music. It is permeated with chestra taking a very subservient role. The second in Exile,” as the many emigrants who were drawn Bridge, the familiar chimes struck the full pentatonic and modal sounds from his native land. movement, Lento cantabile brings the orchestra to to it called it—brought him to New York. It was hour. The theme lingered in my mind for It is punctuated by the vitality of Hungarian dance a more prominent role sharing the elegant gypsy during that voyage that Toch composed one of his a long while and evolved into other forms, rhythms and the lyricism of gypsy folk songs. serenade with the violin. The work closes with a most enduringly popular works: Big Ben, Variation always somehow connected with the origi- While scoring the film Quo Vadis, he had his lively Allegro vivace that is a technical tour de force Fantasy on the Westminster Chimes, Op. 62, as a nal one. It led my imagination through the first experience in Rome. This engendered a life- for the violin. tribute to his time in London. vicissitudes of life, through joy, humor and long love of Italy, where for many years he would The work was premiered on January 15, 1956, Toch continued his career in film scoring, sorrow, through conviviality and solitude, spend his summers in Santa Margherita Ligure, with Jascha Heifetz as the soloist and Walter Hendl netting three separate nominations for Academy through the serenity of forest and grove, near Rapallo and Portofino. The Violin Concerto, conducting the Dallas Symphony. At the conclu- Awards, and moved to southern California, be- the din of rustic dance, and the calm of Op. 24, was written in only six weeks during the sion of the performance, Heifetz called Rózsa to coming an American citizen in 1940.
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