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Mu Phi Epsilon and the Dallas Public Library Present Mu Phi Epsilon and the Dallas Public Library present Evan Mitchell, piano Mark Miller, violin Hyun Jeong Lee, violin Ute Miller, viola John Batchelder, viola Sebastian Kozub, cello Sunday, October 25, 2020 at 3:00 pm Virtual Concert Trio in C minor for violin, viola and piano Felix Mendelssohn Bartholdy Allegro (1809-1847) Scherzo Adagio Allegro In Memory for viola solo Quinn Mason (1996-) Adoration for violin and piano Florence B. Price (1887-1953) Variations on Shalom Chaverim for piano solo Adolphus Hailstork (1941-) Rousseau Suite for violin and viola (1999) Urs Joseph Flury (1941-) 1. Vieille chanson (Old song) - Andante 2. Menuet - Allegretto 3. Le tombeau de Guillaume IV (The tomb of William IV) - Larghetto 4. Danse du diable et des sorcières (Devil's and witches' dance) - Allegro 5. Rêverie (Daydreams) - Andante 6. Aquarium (Perpetuum mobile) - Allegro agitato 7. Chanson d'adieu (Farewell song) - Andantino Phantasy Quintet for two violins, two violas and cello Ralph Vaughan Williams Mvt. 1 Prelude – Lento ma non troppo (1872-1958) Mvt. 4 Burlesca – Allegro moderato Program notes: The Piano Trio in C minor MWV Q3 was written by Felix Mendelssohn (1809-1847) when the composer was 11. The inclusion of viola instead of cello is unusual, and suggests a possible challenge by his composition tutor Carl Friedrich Zelter, head of the Berlin Choral Society. While sometimes evoking his German musical heroes like Beethoven and Mozart, Mendelssohn already uses his own unmistakable language, for example in the impish 2nd movement Scherzo. This trio was not published until 1970. In Memory for Solo Viola was written in April 2020 by Dallas composer Quinn Mason. Now 24 years old, Mason is fielding commissions from around the country, including from major symphony orchestras. He writes: “This piece wasn't written about a specific time or person. It is meant to be a contemplation of memories past, which could be anything the listener/player desires - the viola acts as the voice that recalls these memories and reflects on them with tranquil, yet occasionally tumultuous introspection.” Mount Vernon Music would like to dedicate this performance to all those we have lost to the coronavirus pandemic. Learn more about this composer at: https://masonianmusic.wixsite.com/home. Florence B. Price (1887-1953) - Adoration for violin and piano. The music of Florence Price (1887-1953) has enjoyed a long-overdue revival since the chance discovery of piles of her manuscripts in an abandoned house in Illinois in 2009. Price was born in Little Rock, Arkansas, was valedictorian of her high school at 14, and studied organ and piano at the New England Conservatory, graduating with honors from one of the few conservatories then admitting African-Americans. In the Great Migration away from the Jim Crow South, she moved to Chicago when she was 40 and established herself in musical circles. Her Symphony No. 1 in E minor was performed by the Chicago Symphony in 1933, making her the first Black female composer to have her music performed by a major American orchestra. Price’s music reflects her classical background along with deft incorporation of Black spirituals and folk tunes. Both influences are apparent in Adoration, composed for organ in 1935. This arrangement for violin and piano is from Elaine Fine. Learn more about this composer at http://www.florenceprice.org/. Variations on Shalom Chaverim by Hailstork, which takes for its theme the Hebrew folk song (not a prayer, though), “Shalom Chaverim”. The lyrics translate to “Shalom (peace/goodbye) friends/‘til we meet again/shalom friends.” Hailstork ties the whole piece together with the floating fourths heard at the beginning, which return in an explosive cadenza before Variation 8; and the widely spaced statement of the theme, which returns at the very end, resolving in major. Those familiar with Liszt’s B minor Sonata will hear what sounds like a clear quotation throughout Variation 8 (the descending scalar figure heard at the beginning and end of the Liszt). Learn more about this composer at https://www.adolphushailstork.com/. Swiss Neo-Romantic composer Urs Joseph Flury (1941 - ) studied violin, philosophy, art history and musicology. His compositions include chamber music, orchestral works, concerti and vocal music. The Rousseau-Suite for violin and viola was inspired by Jean-Jacques Rousseau’s exile in the late summer of 1765 on the tiny Island of St. Peter in Lake Biel, in the Canton of Bern. Rousseau wrote: “Of all the places I have lived (and I have lived in some charming ones), none has made me so truly happy nor left me such tender regrets as St. Peter’s Island in the middle of Lake Biel.” 1. "Vielle chanson" recalls the old songs Rousseau would sing in the pavilion on warm evenings. 2. "Menuet" imitates the Baroque dances held at winegrower’s festivals. 3. "Le tombeau de Guillaume IV" refers to the gravestone of Duke William IV, who was buried on the island in the 12th century. 4. "Danse du diable et des sorcières" — According to a 15th century legend, the devil played a fiendish dance on his violin at midnight for witches and sorceresses. 5. "Rêverie" is inspired by Rousseau’s daydreams, as described in his autobiographical Confessions. 6. "Aquarium" recalls Rousseau’s daily ritual of feeding the fish in a fountain basin. 7. "Chanson d’adieu" imagines the musical farewell that Rousseau sang to residents of the island before his departure. Learn more about this composer at: https://www.musinfo.ch/en/personen/autoren/?pers_id=218&abc=F. Ralph Vaughan Williams Phantasy Quintet English classical music was under the spell of German influence in the 1890’s when Ralph Vaughan Williams studied composition in London, and his teacher at the Royal College of Music, Charles Villiers Stanford, venerated Brahms and Wagner. But not long after finishing his studies Vaughan Williams began collecting English folksongs, traveling into the countryside to jot down and transcribe songs as they would be heard in their rural settings. This, along with his interest in Stuart and Tudor Era music, helped shape the distinctly English “nationalist” character of his compositions. The Phantasy Quintet was commissioned by industrialist, arts patron and amateur musician Walter Cobbett. Cobbett was fascinated by the Elizabethan Fantasy, or “Fancy” in four sections combined into one piece played without pause. The Cobbett Competition rewarded composers who created works in this form with prize money, and awardees included Herbert Howells, Benjamin Britten, and Frank Bridge. Vaughan Williams did not participate in the competition, but wrote the Quintet at the request of Cobbett in 1912. Two violas suggest the viol fantasies of William Purcell which provided inspiration, and it is with the viola that the main theme of the Prelude, based on the pentatonic scale (black keys) is introduced. In today’s concert we will segue into the fourth movement, the lively Burlesca, a joyful country dance that begins with the return of the cello. You will hear the ethereal Prelude music return, first as a brief interruption in the festive mood, and finally to close the piece as it began. Notes by Mark Miller and Evan Mitchell About the performers: Pianist Evan Mitchell's recent highlights include debuts on the prestigious Dame Myra Hess Memorial Concerts series (Chicago), at Merkin Concert Hall (NYC), and at several major venues in Shanghai. He has played concerti with the symphony orchestras of Dallas and Fort Worth, among others, and collaborated in recital with such major figures as double bassist Gary Karr and clarinetist Corrado Giuffredi. Evan’s new recording with bassist Szymon Marciniak is earning rave reviews; most recently, Bass World called their performances “intoxicating,” deeming this “a seminal recording.” Evan is also featured on the 2012 release “Piano de Pampa y Jungla: A Collection of Latin American Piano Music.” Besides serving as concertmaster of the East Texas Symphony Orchestra, violinist Mark Miller performs with the Fort Worth Symphony and other North Texas ensembles. He is a founder and president of Mount Vernon Music Association, and co-presents the chamber series “The Color of Sound” at Texas A&M University – Commerce, where for eleven years he taught and performed as an Artist-in-Residence with his wife, violist Ute Miller, and the ensemble Duo Renard. Their recordings can be found on the MSR and Fleur de Son labels. Following studies at SUNY Purchase, Indiana University and Boston University, Mark studied with Jürgen Kussmaul in Germany, where he was assistant concertmaster in the Robert Schumann Kammerorchester of Düsseldorf and a member of the Orchester der Beethovenhalle Bonn. Ute Miller is the principal violist of the East Texas Symphony, performs frequently with the Dallas and Fort Worth Symphony Orchestras and has appeared as a soloist with the East Texas Symphony Orchestra. A founder and the Executive Director of Mount Vernon Music Association, Ute performs with her husband Mark in the violin-viola ensemble Duo Renard, which was brought to Texas with a National Endowment for the Arts Rural Residencies chamber music grant. She also produces the Color of Sound series at Texas A&M Commerce, where she was Artist-in-Residence. Ute’s musical studies include the prestigious Konzertexamen diploma from the Robert Schumann Hochschule Düsseldorf, and a year at Boston University as a student of Raphael Hillyer. In addition to playing with the Frankfurt Radio Symphony, she served for seven years as assistant principal violist of the Gürzenich Orchester/Cologne Philharmonic, and for eight years as principal violist of the Dallas Opera Orchestra. Hailed as being a "superior” and “excellent" violinist (Flint Journal), Hyun Jeong Helen Lee has captivated audiences throughout the United States, Canada and Asia. Leading into her conservatory studies, she attended the Interlochen Center of Arts in the summer of 2009.
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