THE COLUMBIA O R C H E S T R A 2020-2021

THE COLUMBIA O R C H E S T R A APPALACHIAN SPRING Saturday, November 21, 2020 · 7:30pm Columbia Orchestra YouTube Channel

PROGRAM

Brandenburg Concerto No. 3 in G Major, BWV 1048 J.S. Bach [Allegro] (1685-1750) Allegro

Strum (2006, rev. 2012) Jessie Montgomery (b. 1981)

Appalachian Spring (1944) Aaron Copland (1900-1990)

Columbia Orchestra’s 2020-2021 season is sponsored by Washington Financial Advisors and made possible through general operating grants from the Howard County Arts Council, Howard County Government, the State Arts Council, the Community Foundation of Howard County, the Rouse Company Foundation – and donors like you! P R O G R A M N O T E S JOHANN SEBASTIAN BACH (1685–1750) BRANDENBURG CONCERTO No. 3 in G MAJOR, BWV 1048 Composed: 1717 Premiered: Weimar, Germany, 1717 The six concerti grossi that Bach pulled from a drawer and sent to the Margrave of Brandenburg appended to a job application in 1727 are certainly masterpieces, but they also show us the less attractive side of Bach’s personality, as he blatantly tried to pass them off as new works written specially for the Margrave. The Margrave saw clean through the ruse, and ignored both the application and the gift. The Margrave realized that the soloists required by the Concerti were exactly those of Bach’s existing band at Cöthen; despite Bach’s flashy French dedication offering the new works to him, this was old stuff. In the case of the Third Concerto, for strings alone, it was very old stuff, as it dated back to Bach’s time at Weimar, ten years previously. To pile on further insult to the Margrave, it isn’t even, strictly speaking, a concerto grosso. There is no real group of concertino soloists set off against a larger ripieno section; in effect, everybody is a soloist in what is really an extended sinfonia rather than a true concerto. The second movement, on the page, is all of two measures long—a short cadence, intended for the first violinist to improvise a cadenza over while everyone else prepares for the very difficult finale. Arguably not a concerto, arguably short a movement—but still vital, crucial Bach. The first movement (one hopes the Margrave missed this) is actually a reworking of the sinfonia of one of Bach’s cantatas, Ich liebe den Höchsten von ganzem Gemüte (“I love the Highest with all my heart”), with a rondo-like ritornello structure. The concertino/ripieno contrast of the true concerto grosso is replaced by a kaleidoscopic rotation of different groups of payers; at one time or another, they are all soloists, a technique left dormant after Bach until Stravinsky revisited it in our own time. After the mysterious two-measure Adagio (not so much a movement as a pause for breath), the players take off on another kaleidoscopic rethink of the entire grosso genre in a headlong dash of rapid passage work. Program note written by Bill Scanlan Murphy JESSIE MONTGOMERY (b. 1981) STRUM Composed: 2008 Premiered: Detroit, Michigan, 2012 Strum is the culminating result of several versions of a string quintet I wrote in 2006. It was originally written for the Providence String Quartet and guests of Community MusicWorks Players, then arranged for string quartet in 2008 with several small revisions. In 2012 the P R O G R A M N O T E S piece underwent its final revisions with a rewrite of both the introduction and the ending for the Catalyst Quartet in a performance celebrating the 15th annual Sphinx Competition. Originally conceived for the formation of a cello quintet, the voicing is often spread wide over the ensemble, giving the music an expansive quality of sound. Within Strum I utilized texture motives, layers of rhythmic or harmonic ostinati that string together to form a bed of sound for melodies to weave in and out. The strumming pizzicato serves as a texture motive and the primary driving rhythmic underpinning of the piece. Drawing on American folk idioms and the spirit of dance and movement, the piece has a kind of narrative that begins with fleeting nostalgia and transforms into ecstatic celebration. Composer's note written by Jessie Montgomery. AARON COPLAND (1900–1990) APPALACHIAN SPRING – Suite Composed: 1944 Premiered: Washington, DC, 1944 To say the least of it, Aaron Copland was full of surprises. John Wayne once asked to be introduced to the man who had written such fine, strong, all-American music—music that enshrined the spirit of the Old West—and was startled to find himself shaking the hand of an openly gay Jewish Communist from Brooklyn who spent many years very near the top of the Blacklist. Copland thought of himself as a gritty, serious composer in the Schoenbergian mode (and there is plenty of music by Copland to prove it), but he was always best known, and always will be, as the composer of a number of works in a populist, open-hearted style that for many—John Wayne included—is simply the style of modern American music. Rodeo and Billy the Kid—two ballets set in the Wild West—allowed Copland to set Hollywood’s Western musical agenda forever more, but, ironically, his politics prevented him from ever scoring a major movie. His own association with the West, incidentally, began and ended with his childhood nurse having been the niece of Pat Garrett, executioner of Billy the Kid. Copland had similarly little linking him personally with the rural expanses of the Eastern states; this partly explains the weird conundrum of the title of Appalachian Spring, which was known throughout its gestation simply as Ballet for Martha. “Martha” was the choreographer Martha Graham, who commissioned the music. She gave Copland a vague outline of a story—little more than the courtship of a rural couple, taking place nowhere in particular. It was Martha Graham herself who suggested calling the piece Appalachian Spring, after a line in her favorite poem, The Dance by Hart Crane: P R O G R A M N O T E S

O Appalachian Spring! I gained the ledge; Steep, inaccessible smile that eastward bends And northward reaches in that violet wedge Of Adirondacks! wisped of azure wands … The title had no sooner been decided on than Miss Graham wrote a final scenario for the ballet that took place entirely in Pennsylvania. Copland became fond of gleefully pointing this out when told by admirers that his music perfectly expressed the soul of either the Poconos or the Adirondacks, when neither had been anywhere near his thoughts as he composed the music in darkest Brooklyn. It seemed almost churlish to mention further that the “spring” of the Crane poem is a water source, not a season. That Copland composed much of the music under the patronage of the Ex-Lax Corporation made it all even funnier. The similarity of the story to the “dream ballet” of Oklahoma, incidentally, is no coincidence at all; both Copland and Graham were close friends and admirers of Richard Rodgers and Agnes de Mille, composer and choreographer of Oklahoma. The original ballet music was scored for thirteen instruments; the premiere took place in the Library of Congress, which excluded the possibility of anything more grandiose. However, the success of the music was so instantaneous and widespread (Pulitzer Prize for Music, 1945) that a suite for full orchestra soon followed, helped along by a staggering fee from Serge Koussevitzky; it is this version that is best known. Although nominally a “suite from the ballet,” only a couple of minutes of material are missing from the original score. The suite opens with the definitive American rural musical scene, all open fifths and reaching major sevenths; through Copland’s students (notably Jerome Moross), this sound became not so much an inspiration as a format for generations of movie composers, like so much else in this music. A series of dances for the Bride and her prospective husband follow, leading to the appearance of the Revivalist and the couple’s wedding. What follows is the celebrated series of variations on the Shaker melody Simple Gifts, the music for a series of tableaux depicting the Bride and her husband in scenes of daily life after their nuptials. Both the idea of a set of variations and the theme itself were given to Copland by Martha Graham, who was herself from a strictly Presbyterian family in rural Pennsylvania; the more worldly Copland, who had manufactured several bogus folksongs for his earlier ballets, raided a book of Shaker melodies for the definitive version. The work ends with the Bride and her husband, in the words of the scenario, “quiet and strong” in their new house. Copland was fond of saying that the proceeds from this music also left him in a new house – in rural (!) Cortlandt Manor, NY. Program note written by Bill Scanlan Murphy. M U S I C JASON LOVE D I R E C T O R

Conductor and cellist Jason Love leads the Columbia Orchestra in his twenty-second year as Music Director, the fourth person to have held that post in its forty-three seasons. Praised for his “intelligent and innovative programming,” the Baltimore Sun has called the orchestra “Howard County’s premier ensemble for instrumental music,” noting that “Love has the musicians playing not only with verve and passion, but with an awareness to enter into the emotional core of the works they perform.” He has received many recognitions including the American Prize for Orchestral Programming, a Peabody Alumni Award for Outstanding Contributions to Music in Maryland, and a “Howie” Award recognizing achievement in the arts in Howard County, Maryland. Love was Artistic Director of the Greater Baltimore Youth Orchestras (now the Baltimore Symphony Youth Orchestras) for thirteen years, and Music Director of the New Horizons Chamber Ensemble, a new-music group, for five. He has guest conducted a wide variety of ensembles such as the Baltimore Symphony, Washington Sinfonietta, Hopkins Chamber Orchestra, Bismarck-Mandan Symphony, Maryland Classic Youth Chamber Orchestra, and RUCKUS, a contemporary music ensemble at the University of Maryland, Baltimore County where he taught conducting for seven years. As a cellist Mr. Love has performed a wide array of concertos with orchestras including the North Carolina premiere of Tan Dun’s multi-media work, The Map. In recent seasons he has performed Shostakovich’s Concerto No. 1 with Piedmont Symphony, the Dvořák Concerto with the Frederick Symphony, and concertos by Haydn and Boccherini with the Columbia Summer Strings. His many chamber recitals include work with the Columbia Orchestra Piano Trio featuring Concertmaster Brenda Anna and pianist Nancy Smith, and the Franklin-Love Duo with pianist Rachel Franklin. A highly respected educator, Mr. Love spends part of each summer conducting at the Baltimore String Orchestra Camp. In his eleven years on the faculty of the Governor’s School of North Carolina he taught Twentieth-Century music, philosophy, and other subjects to academically gifted high school students. He led the McDaniel Orchestra Camp in Westminster, MD for five years and conducted the Repertory Orchestra of the Chesapeake Youth Symphony in Annapolis, MD for four. He has adjudicated and guest conducted at music festivals around the country. Born in Burlington, North Carolina, Love studied violoncello with Ronald Thomas and conducting with Frederik Prausnitz at the Peabody Conservatory. He is a Past President of the Peabody Alumni Association. His website is www.jasonlovemusic.com. P E R S O N N E L R O S T E R

VIOLIN BOARD OF DIRECTORS Sheng-Tsung Wang, guest concertmaster Melissa Sandlin President Matthew DeBeal Elizabeth Haight Audrey Johnson Vice President Paul Li Elaine Newhall Treasurer VIOLA Jennifer Murray, guest violist Bruce Kuehne Secretary David Vinson Elizabeth Berman Robert Carpenter CELLO Naomi Chang-Zajic Elizabeth Davis Kendall Hayman Christina Hernandez Sonia Kurian Jen Retterer Kay Paide Barbara Russell BASS Anne Ward Kevin Taylor John Zontek ARTISTIC STAFF FLUTE Jason Love Elaine Newhall Music Director ADMINISTRATION CLARINET Katherine Keefe Ann Quinn Executive Director Sarah Casey BASSOON Marketing Manager Hank McCulley Jill Thomassen Production Assistant PIANO Bruce and Elaine Newhall Fred Hughes Librarians Annette Szawan Anne Ward Personnel Managers I N D I V I D U A L C O N T R I B U T O R S CONDUCTOR’S CIRCLE Audrey Johnson DONORS ($2,000-ABOVE) Robert deLeon ($100-$249) Deborah Chen Peter Magoon ǂ Anonymous (3) John Steinberg & Joyce Cox Gayle Miller William Adams Sean Gahagan & Melissa Sandlin Rosemarie Paull Fred & Rayzee Berko Chuck & Judy Gill Jen & Carl Reynolds Irene & Jules Berman Eileen Heefner John & Devona Schiller Lynn Bezilla Bruce & Catharine Kuehne Michael McShane David & Angie Boyter Sonia Kurian* Robert & Jodi Shochet Daniel Brandt Michael McShane* Jon & Nancy Smith Elise Bruner Bruce & Elaine Newhall Jeff Soulen Barry Catelinet Karen Paide John & Debbie Sullivan Jesse & Meredith Chancellor Barbara Russell Ronald Tipton & Patricia Knapp Beth Chernichowski Richard & Renate Soulen Larry Elletson & Dottie Wayne Nancy McCord In memory of Werner Gruhl John Zontek ǂ Ronald E. Dencker Bernard & Annette Szawan PATRONS David Drasin Dennis & Deloise Wilkie ($250-$499) Clayton Englar ǂ Peter & Patricia Zahn Anonymous (3) Harry Glass & Judy Canahuati David Zajic & Naomi Chang Zajic Anne Barker Mary Haaser SPONSORS Elizabeth Berman Ralph Heimlich ($1,000-$1,999) Alison Candela Karol Hess Adrian Colborn* Philip & Sarah Cotterill Terry & Joan Hoye Sarah Dorrance Andrew Farb ǂ Thomas Monroe & Karen Jack ǂ Jena Downs John Forrest Efstathea Jones Donald Eddins Richard & Carolyn Ginnever Eric & Hattie Katkow Jon Louthian Marcus & Meg Glenn Tamara Kim Robert & Brenda McKoy Cheryl Griffin Barara Bowman Scrib & Mary Jo Messenger Robert & Janine Grossman In Honor of Al McLaine Rita O'Neil John & Sheila Hrapchak Al & Pat McLaine Kevin Taylor & Robin Bauer Taylor Paul Li Kyle Lockie William & Anne Ward Elizabeth Marino Randy Malm BENEFACTORS D. Michael Morris ǂ Robert & Mary Molle ($500-$999) Mark Morris ǂ Andrea Moorhead Yolanda Bruno Michael & Alison Pack Phil & Chris Nibali Michael & Jamie Catelinet Judith Pittman Gust Mitchell & Malinda Orlin Brad & Mary Closs Margaret Pooler Philip Candela & Mary Ostrowski Perry & Carolyn Cregan Hugh & Carole Ross Margaret Ovington Matthew & Di Cross Christine Schmitz Catherine Pelsinsky John Farrell Julie Schwartz Guido & Betty Porreca Cathy Ferguson Aaron & Meghan Sommers I N D I V I D U A L C O N T R I B U T O R S

DONORS (CONTINUED) John & Mary Brandenburg Erin Randall ($100-$249) Elladean Brigham Yunzhao Ren Francis Rittermann Bob Chasnow Carl & Jen Reynolds N. Bruce & Patrice Robins ǂ Ray Cole Charles Semich Helen Rohleder Nancy Dickinson Diane Shaver Vicki Sandiford John Eberhard Sheri Sinnen Ann Schluederberg Keith Evans Andy & Diane Stack Eric Schuler Don & Kay Fandetti Karen Steelman Paul & Virginia Scimonelli ǂ Sandra Feldman ǂ Joan Stine Candice & Myron Segal ǂ Michael Fleming Lester Straw Mary Ann Siklosi Ellen Flynn Giles Betty Summers Webster & Lynn Smith Barbara Gregory David Taylor & Marilyn Mix Dr. & Mrs. Peter Stoloff Christina Gunner Christine Teasdale Gina Stoney Jaime & Christina Hernandez Nana Vaughn John & Patricia Sullivan Steve Hutzler Colleen Vernon John & Ginni Walsh Gail Johnson Kim Volynsky John Wheeler Karen Kalivoda Bruce Voris & Wendy Ng Randy Kimble & Mary Ann Wilson John Kattler Michael Ware Henry & Nancy Yee Priscilla Kerins Darin Warner Esther Wagner-Yuan Roger & Linda Lark John & Suzanne Weiss Jeffrey & Judy Zaller Karen Lubieniecki Gary & Diane Will David Zeitzer & Barbara Kaplan Joan Lucco Leaetta Wood FRIENDS Barbara Maheigan Anne Yenchko (Up to $99) Arthur Matz Anonymous (3) ǂ Larry Medoff * includes employer matching contributions Jennifer Molinari ** includes in-kind contributions ǂ Glenn Bender Sue Neri Columbia Jazz Band contributions Elaine Bernstein Teresa Nida Boncho Bonev Jonathan Parrish John & Lisa Boss Rhea Pechter John Boyle THANK YOU, CONTRIBUTORS Anyone wishing to make a donation may do so online at www.columbiaorchestra.org or by mailing a check to 8510 High Ridge Rd, Ellicott City, MD 21043 This list includes all contributors from July 1, 2019 To November 3, 2020. If your name has been omitted or misspelled, please accept our apologies and inform us of the error by calling 410-465-8777, so it can be corrected. The Columbia Orchestra is a 501(c)(3) organization – donations to which are tax deductible to the fullest extent allowed by law. A copy of our current financial statement is available upon request by calling our office. Documents submitted to the State of Maryland Charitable Solicitations Act are available from the Secretary of State, State House, Annapolis, MD 21401, for the cost of copying and mailing. Donations to the Columbia Orchestra will be acknowledged in concert programs for a minimum of one year. MAJOR SPONSORS

ECHO Rouse Company Foundation

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