Thursday, March 12, 2020, 8 p.m.

BACH FROM THE PIANO Bach Collection

2019-20 SEASON BACH FROM THE PIANO Bach Collection Kady Evanshyn, mezzo-soprano Rebecca Fischer, violin Alecia Lawyer, oboe Simone Dinnerstein, piano

Jesu, Joy of Man’s Desiring (1723) (arr. Hess, 1926) JOHANN SEBASTIAN BACH (1685-1750)

Concerto for Violin and Oboe in C minor, BWV 1060 (1736) (arr. Fischer, 1970) Allegro Adagio Allegro

Chorale Prelude Ich ruf zu dir, Herr Jesu Christ, BWV 639 (1708-1715) (arr. Busoni, 1916)

Cantata Ich habe genug, BWV 82 (1727) Aria Recitativo Aria Recitativo Aria About the Program

Pianist Simone Dinnerstein is a gracious might find something to say something and thoughtful interview subject, the kind about that,” she said, “but it’s not what I of person with whom you look forward was thinking about.” to speaking because of the potential for The music of Johann Sebastian Bach meaningful dialogue and her utter lack (1685-1750)—quite possibly the greatest of pretension. When I called her to talk composer in the Western art music about Bach from the Piano, the three- tradition, the most renowned keyboard concert series she curated for Miller player of his day, and, by all accounts, an Theatre this winter, Dinnerstein was extraordinary improviser—originated congenial, but prefaced our conversation some 300 years in the past. It is nearly with something of a warning. “I’m not a impossible to speak about him without historian,” she said bluntly. “And I didn’t engaging deeply in music history—or put these programs together based on any so my inner musicologist would once historical research or theories.” have argued. I wasn’t surprised. When I’d talked Starting with the work of his to Dinnerstein about the single program biographer Julius August Philipp Spitta she performed at Miller a year ago, an (1841–1894), if not earlier with the imaginative mix of works by François revival of Bach’s St. Matthew Passion by Couperin, Robert Schumann, Erik Satie, Felix Mendelssohn in 1829, much of the and Philip Glass, she’d demurred, for discipline of musicology developed in example, on the particulars of Couperin’s order to engage with Bach as a historical Baroque-harpsichord treatise and subject: studying manuscript sources to Schumann’s notable Romantic angst, produce critical editions of his music, and preferring to talk instead about Glass, a unearthing documents that contribute contemporary composer who she knows to our understanding of his biography. personally. (Dinnerstein had recently Throughout the 20th Century, scholar- toured his Piano Concerto No. 3, written musicians have made it their life’s for her as a co-commission from twelve work to reconstruct his music through different orchestras, giving its New York historically informed performance premiere here at Miller Theatre.) on period instruments, an approach This year, when I asked her what we initially applied to works of the Medieval, might learn about the Baroque form of Renaissance, and Baroque periods, then the sonata through the repertoire on the gradually extended to the Classical and first Bach concert she programed for the Romantic eras. A fervor for charismatic series, she met my question with a flat and highly skilled performers such as reply and a hearty chuckle. “Well, you Jordi Savall, Sir John Eliot Gardiner,

millertheatre.com and Sir Roger Norrington in the 1980s to me in an aesthetic and emotional way. and ‘90s demonstrated that the quest for I’m not thinking about whether or not his authenticity was not limited to wonky ornamentation is correct. Maybe someone academic exercises, but could be trendy, would say that it sounds beautiful because driving popular demand among classical he’s playing it the way it would have been music enthusiasts. played, but that’s not how I hear it. With this wealth of accumulated “I also love listening to Myra Hess,” knowledge on Bach—and, frankly, the she adds, referring to the British zealotry that sometimes accompanies pianist, whose Bach interpretations and it—one might be tempted to judge transcriptions were esteemed during unfavorably any the first half of the 20th musician who Century. “And I don’t neglects even a kernel “The tension for me is between think that there was of information, the music being an art form anything historically let alone someone living in the present and trying correct about how she with an unorthodox to recreate something that was playing.” approach. (Case in comes from the past.” Could it be that point: I remember a —Simone Dinnerstein Dinnerstein’s rise performance practice over the past decade course I took at the is evidence that the Eastman School of Music in the 1990s, pendulum has begun to swing the other during which our instructor played the way, returning Bach to those individual venerated 1955 Glenn Gould recording musicians confident in their aesthetic of Bach’s Well-Tempered Clavier. The liberty, and with a less historically specific example was so contrary to our way of vision of what his music should be? thinking that the room spontaneously Dinnerstein first made her mark with burst into laughter, deeming it absurd.) Bach’s Goldberg Variations, the imposing “I’ve definitely been accused of repertoire for her debut recording and one anti-intellectualism,” says Dinnerstein. that seemed to come out of nowhere. Yes, “Maybe it’s true. I don’t know. But that’s she was a Juilliard graduate with a solid not why I’m playing. I’m not playing the resume, but, by all accounts, her career piano to make a point; I’m playing it to had stalled. When she learned she was make music. pregnant in 2001, she set out to master “For instance,” she continues, “I think the Goldbergs before the baby arrived, a that Jordi Savall is an extraordinary monumental task. She eventually raised musician, and I love listening to the money to produce her own recording, everything that he does. But it’s speaking a risky move that paid off, landing her a

Miller Theatre at Columbia University Weill Recital Hall debut, a manager, and at Miller Theatre in 2017. Joined on Bach a label. In 2007, that recording topped the from the Piano this year by a handful of Billboard Classical Chart in its first week select principal musicians on violin, cello, of sales. flute, oboe, and voice, Baroklyn offers the As Anne Midgette wrote for The New pianist an alternative to performing Bach York Times, “It is a distinctive approach as a solitary pursuit. to the work: colorful and idiosyncratic, “When I’m playing his music by a contemporary pianist’s rather than a myself,” explains Dinnerstein, “I hear harpsichordist’s account. It starts with a the sounds of different instruments. long, thoughtful, hesitant Aria that seems I’m juggling many voices and many to be struggling to lift itself uncertainly personalities. What really appeals to me out of silence.” about leading an ensemble is hearing Dinnerstein’s approach is also full of those sounds being played by different intention, grounded in her deep reading instruments in reality.” of musical structures and the desire to Dinnerstein built the series with Miller communicate with incredible clarity, Theatre’s Executive Director Melissa no matter the composer or the stylistic Smey around the group’s instrumentation, period. “I would probably say the same presenting a program of Bach Sonatas things to you if we were talking about (January 30), Bach Concertos (February Schumann or Copland,” she says. “The 13), and the Bach Collection (March 12), tension for me is between the music which brings together a handful of his being an art form living in the present and most celebrated works. trying to recreate something that comes A prolific composer, Bach served as from the past. That’s still a big argument the Cantor of the St. Thomas Church in in music today, much more than it was Leipzig (1723-50), contributing over 200 in the 1950s or ‘60s. Because if you listen cantatas to mark the Lutheran liturgical to different pianists playing Bach from calendar. Although some of the works that period of time, there was a very wide featured in Dinnerstein’s performances range of approaches, whereas the people with Baroklyn belong to that sacred playing today tend to have a much more context, including one exceptionally uniform approach.” poignant cantata, Ich habe genug, featured on the Bach Collection, the majority were played by members of the Collegium Musicum, an instrumental ensemble The same kind of devotion to making whose directorship Bach assumed from music that lives in the present guides 1729-39, despite an abundance of Dinnerstein’s new venture: Baroklyn, an other responsibilities. eleven-member string ensemble that she Drawing on professional musicians leads from the piano. The group debuted and highly accomplished university

millertheatre.com students, the Collegium Musicum arrange the chorale prelude Erbarm dich gave ‘ordinaire’ concerts weekly, and mein, o Herre Gott, BWV 721 for piano ‘extraordinaire’ concerts for special and strings. This new work premieres occasions in the lively atmosphere of on Bach Concertos. Zimmerman’s coffeehouse (inspiring Bach “So often I see concerts put together to write, among other things, a ‘coffee in the spirit of, ‘Let’s hear all six cantata’). Not only did they perform music Brandenburg concertos together now,’” by Bach, but by other renowned composers says Dinnerstein. “There’s a place for of the day, including Georg Friedrich that, but we don’t have to present music Handel and Georg Philipp Telemann. in a way that’s encyclopedic. I’ve always According to Bach’s son, composer C.P.E. been interested in programs where I Bach, it was “seldom that a musical master can hear a variety of work for different passed through without getting to know instruments with different timbres, that my father and playing for him.” The group have different kinds of intentions and unquestionably fueled Leipzig’s vibrant meanings to them.” cultural scene, and gave Bach an outlet The programs Dinnerstein has curated for his extraordinary talents beyond the for Bach from the Piano are manifestations confines of the church. of that ideal, selecting varied riches that These instrumental masterworks shine brightly in their juxtaposition. Yet dominate the first two concerts,Bach her choices were also driven by what she Sonatas and Bach Concertos. The other loves; she tells me, as we discuss each pieces belong to a tradition of adaptations piece in turn, that it, too, is a favorite. Her and commentary on Bach with their own connection to the Concerto for Violin and historic lineage. The composer himself Oboe in C minor, BWV 1060 is perhaps was known for rewriting and arranging the most personal one of all. She was so his works for different instrumentation; taken with its second movement when she similarly, Dinnerstein will play a popular heard it in the Pier Paolo Pasolini filmThe arrangement of the chorale Jesu, Joy Gospel According to St. Matthew that she of Man’s Desiring by pianist Myra Hess felt compelled to track it down. Performed (1890-1965) on the Bach Collection. Bach by two violins, the piece would accompany routinely performed chorale preludes, her down the aisle on her wedding day. arrangements, and improvisations on “I’ve made pilgrimages to the St. hymns of the day; Dinnerstein brings an Thomas Church in Leipzig,” she says. “I’ve arrangement of Bach’s Chorale Prelude talked to music scholars, jazz musicians, on Ich ruf zu dir, Herr Jesu Christ, BWV dancers, filmmakers, and even rabbis—a 639 by Ferruccio Busoni (1866-1924) wide range of people. And Bach’s music to the Bach Collection. In addition, she speaks to them. It speaks to the very commissioned Philip Lasser, with whom deep and mysterious part of everyone. I she has worked on several projects, to think that is why we continue to turn to

Miller Theatre at Columbia University his music, and it’s still so relevant today. “Personally, I think that all of Bach’s Obviously, you can find a million details music is sacred,” Dinnerstein reminds in it that are endlessly interesting as a us. “I doubt that he would have made musician, or a theorist. But you don’t need the distinction.” to know any of that in order to have the Whereas flute was the featured wind music speak to you in a powerful way.” instrument in Bach Concertos, oboe assumes importance in the Bach Collection via its prominence in both the concerto and the cantata. “It’s like a voice without Bach Collection, the third and final words,” Dinnerstein explains. “I thought program of Bach from the Piano, brings it could be very interesting to have a together some of Bach’s most popular concert with those two pieces on the works: Jesu, Joy of Man’s Desiring, same program. The quality of the second arranged by Dame Myra Hess; Concerto movement of the concerto, which contains for Violin and Oboe in C minor, BWV 1060; some of his most beautiful writing for the the chorale prelude instrument, is such that Ich ruf zu dir, Herr it could have come from Jesu Christ, BWV 639, Whereas flute was the one of the cantatas.” arranged by Ferruccio featured wind instrument in Dinnerstein will Busoni; and the cantata Bach Concertos, oboe assumes perform these four Ich habe genug, BWV 82. importance in the Bach works in concert with The previous Collection . . .“It’s like a musicians of whom she programs, Bach Sonatas voice without words,” thinks as her colleagues and Bach Concertos, Dinnerstein explains. and peers. Oboist highlighted repertoire Alecia Lawyer came to from Bach’s tenure Dinnerstein’s attention as the director of Leipzig’s Collegium through flutist Christina Jennings, who Musicum. Dinnerstein has included one performed on Bach Concertos; Lawyer is of the virtuosic works known to have the founder, director, and principal oboist been performed by that trailblazing of ROCO, a chamber orchestra based ensemble on tonight’s concert as well: in Houston. Canadian mezzo-soprano Concerto for Violin and Oboe in C minor. Kady Evanyshyn was recommended However, the three remaining pieces to Dinnerstein by Philip Lasser, whose count among Bach’s sacred repertoire, arrangement of the chorale prelude from the period of his appointment as Erbarm dich mein, o Herre Gott, BWV court organist and Konzertmeister in 721 for piano and strings premiered on Weimar (1708-1717) and his final post as Bach Concertos; Evanyshyn, a Juilliard the Cantor of the St. Thomas Church in graduate, recently joined the Staatsoper Leipzig. Hamburg’s International Opera Studio.

millertheatre.com Violinist Rebecca Fischer, for this piece—and it is scored for two concertmaster of Baroklyn, is a good harpsichords rather than for violin friend with whom Dinnerstein has and oboe. Bach scholars have known worked for years; they met as fellows at for more than a century that his Tanglewood in 1997. “I heard her play a keyboard concertos, which helped Mozart string quintet,” says Dinnerstein, liberate that instrument from its “and I thought she was just the best, the accompaniment role and recast it as a most beautiful musician.” worthy soloist, were re-compositions of earlier concertos for violin and Jesu, Joy of Man’s Desiring oboe. The attempts to reconstruct A favorite for weddings and at those missing works began in the Christmastime, this beloved arrangement 1920s and continues to this day. The is one of many recreations of Baroque version Dinnerstein will perform is by repertoire by English pianist Dame Myra contemporary German conductor and Hess; she received her honorific title musicologist Wilfried Fischer. for organizing nearly 2,000 lunchtime “I’ve loved this concerto for such a concerts during the Blitz of London long time,” Dinnerstein says of the during World War II. “She’s one of my piece that she included in her wedding favorite pianists,” says Dinnerstein. “Her ceremony. “The Pasolini filmThe Gospel sound was so incredibly personal.” According to St. Matthew uses that Retitled by Hess, Jesu is based on two beautiful, slow second movement, which chorale movements from Bach’s cantata is where I first heard it. I’ve played the Herz und Mund und Tat und Leben, version for two keyboards; but oboe and BWV 147, first composed for Advent in violin can sustain notes in a way that is December 1716 while he was at Weimar. impossible on keyboard instruments.” The melody, with its iconic triplets, belongs to the Lutheran evening hymn Chorale Prelude Ich ruf zu dir, Herr “Werde munter, mein Gemüte” Jesu Christ, BWV 639 (c. 1641) by German violinist and Bach’s earliest surviving works are composer Johann Schop. Its text was chorale preludes, arrangements of written by German Protestant minister existing chorales for organ, that date and musician Martin Janus. from when he was a mere 15 years old. He continued to write them as a Concerto for Violin and Oboe young man during his first professional in C minor, BWV 1060 posts as organist at Weimar, Arnstadt, Written in the hand of Bach’s student Mühlhausen, and Weimar again, the and son-in-law J. C. Altnikol for its period from which this composition performance by the Collegium Musicum, dates. It appears in an autograph only a single manuscript source survives manuscript that collects 45 of Bach’s

Miller Theatre at Columbia University chorale preludes known as the Church in Leipzig on February 2, 1727, Orgelbüchlein (1708-1717). as we know from its surviving autograph “Such was the centrality of the chorale manuscript. The source materials also in Protestant Germany that a substantial reveal that the cantata was performed on part of the training and activities of the at least three more occasions. What kept organist and the composer traditionally Bach returning to it time and time again? revolved around it,” writes musicologist The anonymous text is based on the Richard Jones. “The skills required biblical story of Simeon in the book of were not just in harmonizing chorales, Luke, the “righteous and devout” man of but in improvising or composing Jerusalem who can contentedly embrace more elaborate music, such as chorale his own death once he meets the infant preludes, on their basis.” Jesus in the temple. The dominant Ich ruf zu dir, Herr Jesu Christ was cultural view in Bach’s day held that death based on a hymn by Johann Agricola was a passage to be embraced, a sweet first published in 1529, one popular and peaceful sleep. Yet Bach’s meditation enough to appear in settings by Bach’s on this subject is one of internal conflict contemporaries Johann Pachelbel beyond what words can convey. and Dieterich Buxtehude. Composer “There is a sense of acceptance, but Ferruccio Busoni’s later piano there are also these moments of real transcription appeared as part of his emotional struggle,” says Dinnerstein. massive thirty-year project known as the “I think that’s what makes it so Bach-Busoni Editions, the first of which interesting—the tension between the was published in 1894. incredible sadness about leaving this “I heard this chorale prelude in world and also a sense of peace and joy in another film, Andrei Tarkovsky’sSolaris, ” going to the next world. You don’t need to says Dinnerstein. “I was just so taken with know the meaning of the text; the music it that I went looking for it. And that’s has a particular poignancy that is clear. when I found Busoni’s version. It’s one of It is a piece that I think resonates with my favorite chorale preludes.” many people and I return to it myself all the time.” Cantata Ich habe genug, BWV 82 Lara Pellegrinelli is a scholar and a journalist, A profoundly fitting work with which who contributes to NPR and The New York to close the concert and this series, Ich Times. She teaches at The New School and habe genug premiered at the St. Thomas Bard’s Microcollege at Brooklyn Public Library.

millertheatre.com About the Artists

Simone Dinnerstein American pianist Simone Dinnerstein National Symphony Orchestra, New is known for her “majestic originality of York Philharmonic, and many others. vision” (The Independent) and her “lean, Additionally, she has performed in knowing, and unpretentious elegance” correctional facilities for the Piatigorsky (The New Yorker). Her self-produced Foundation, an organization dedicated recording of Bach’s Goldberg Variations in to bringing classical music to non- 2007 brought her considerable attention. traditional venues. It reached No. 1 on the U.S. Billboard Recent highlights include Classical Chart in its first week of sales Dinnerstein’s recital at the Kennedy and was named to many “Best of 2007” Center; her debut with the London lists including those of The Los Angeles Symphony Orchestra; touring of Piano Times, The New Yorker, and The New York Concerto No. 3, a piece that Philip Glass Times, which called her “a unique voice in wrote for her as a co-commission by the forest of Bach interpretation.” She has twelve orchestras; Circles, her world gone on to make eight albums since then premiere recording of the concerto with with repertoire ranging from Beethoven A Far Cry; participating in the premiere to Ravel, all of which have topped the of André Previn and Tom Stoppard’s Billboard Classical charts. Penelope with Renée Fleming and the The New York-based pianist’s Emerson String Quartet at Tanglewood, performance schedule has taken her Ravinia, and Aspen music festivals; and around the world. She has performed a residency in San Francisco with the at venues including the Kennedy New Century Chamber Orchestra, Center for the Performing Arts, Vienna among others. Konzerthaus, Berlin Philharmonie, Dedicated to her community Sydney Opera House, Seoul Arts Center, in Brooklyn, Dinnerstein founded and London’s Wigmore Hall; festivals Neighborhood Classics in 2009, a that include the Lincoln Center Mostly concert series that raises funds for Mozart Festival, the Aspen, Verbier, and music education programs in New York Ravinia festivals; and performances City schools, and Bachpacking, a music with the Vienna Symphony Orchestra, program for elementary schools. A Dresden Philharmonic, Staatskapelle graduate of The Juilliard School and Berlin, RAI National Symphony the Manhattan School of Music, Orchestra, Royal Scottish National Dinnerstein is on the faculty of the Orchestra, Czech Philharmonic, Danish Mannes School of Music.

Miller Theatre at Columbia University Kady Evanyshyn School, where she was granted the John Canadian mezzo-soprano Kady Erskine Faculty Prize for exceptional Evanyshyn is championing the crossroads scholastic and artistic achievement. of classical opera and contemporary She has been awarded the Tudor Bowl vocal music. She has been hailed by New at the Winnipeg Music Festival and a York Classical Review for her “lovely, Novick Career Advancement Grant, and dramatic voice,” and Musical America for is supported by the Sylva Gelber Music her “delectable” musical interpretations. Foundation. Evanyshyn recently joined the Hamburg Staatsoper’s International Opera Studio, Rebecca Fischer where she debuted as Glascha (Kát’a Praised for her “beautiful tone and Kabanová) and will appear as Zweite nuanced phrasing” (Boston Musical Dame (Die Zauberflöte), Sändmannchen Intelligencer), violinist Rebecca Fischer (Hänsel und Gretel), Kate Pinkerton is sought after as a highly expressive, (Madama Butterfly), Zweite Knappe intuitive performer. She was first violinist (Parsifal), Un pastore (Tosca), and Zweite of the Chiara Quartet for eighteen years Magd (Elektra). until the group’s final season in 2018. Evanyshyn has worked with She is currently the concertmaster of ensembles such as the Kronos Quartet Baroklyn, an ensemble run by pianist and the ÆON Music Ensemble. Recent Simone Dinnerstein specializing in the highlights include the world premiere of music of Bach, and a member of The Stefano Gervasoni’s Drei Grabschriften Afield, a multidisciplinary collaboration with Focus Festival, and debuting as with visual artist/writer Anthony Hawley Second Woman in Mary Birnbaum’s combining new and original compositions production of Dido and Aeneas, conducted for violin, voice, and electronics with by Avi Stein, in New York (The Juilliard video and other media. School), South Carolina (Joye in Aiken Fischer has held residencies at the Festival), London (Holland Park), Metropolitan Museum of Art and Harvard Versailles (Opéra Royal de Versailles), University, won top prizes in national and Jennifer Higdon’s Cold Mountain at and international chamber music Music Academy of the West, conducted competitions, premiered over thirty by Daniela Candillari, where she sang major new works by composers such as the role of Claire, and participating in Philip Glass and Gabriela Lena Frank, Carnegie Hall’s 2020 SongStudio with and was awarded the Chamber Music Renée Fleming, which culminated in her America/ASCAP Award for Adventurous Carnegie Hall debut. Programming. Performance highlights Evanyshyn earned her bachelor’s include the complete Bartók Quartets and master’s degrees from The Juilliard by heart at Chicago’s Ravinia Festival,

millertheatre.com several complete Beethoven quartet conductors from around the world. ROCO cycles, U.S. tours of clubs and bars of has commissioned and world premiered “Chamber Music in Any Chamber,” over 75 works from living composers. and collaborations with such artists Lawyer’s career has ranged from as The Juilliard and Saint Lawrence recording for John Cage and soloing Quartets, Simone Dinnerstein, Roger with Rostropovich, to performing Tapping, Robert Levin, and the electronic chamber music at Carnegie Hall and live duo Matmos. radio broadcasts in New York, and disc Fischer is a violin teacher, chamber jockeying for KRTS-92.1FM, Houston, music coach, consultant, and speaker. TX. During a year-long residency in Currently, she is teaching violin and France, she recorded with the Sorbonne chamber music at the Mannes School Orchestra, performed recitals in Paris, and of Music and at Greenwood Music concertized with various orchestras and Camp, where she is Associate Director. chamber groups in France and Germany. Fischer holds degrees from Columbia Lawyer was a finalist for Texas University (B.A.) and The Juilliard School Musician of the Year (along with Willie (M.M., A.D.). Her writing on artistry and Nelson) and was listed as one of Houston’s creativity is published regularly in Strings, Top 50 Most Influential Women. She has and she is currently working on a book of received numerous awards, including personal essays. the Gutsy Gal Award from Houston Woman Magazine and the Sigma Alpha Alecia Lawyer Iota Musician of the Year. She is a senior Named by Musical America as one of fellow of the American Leadership Forum, classical music’s Top 30 Influencers for a trustee for Episcopal High School, and 2015, Texas native Alecia Lawyer is the a member of the Institute for Composer founder, artistic director, and principal Diversity. Lawyer received an M.A. from oboist of ROCO, a professional music The Juilliard School and a B.A. from ensemble of one to 40 musicians from Southern Methodist University, both around the U.S. and Canada, with guest in oboe.

Baroklyn Simone Dinnerstein, artistic director Doori Na, violin II Rebecca Fischer, concert master Colin Brookes, viola Suliman Tekalli, violin I Caeli Smith, viola Annaliesa Place, violin I Alexis Pia Gerlach, cello Gabriela Díaz, violin II Julian Müller, cello Karla Donehew Perez, violin II Lizzie Burns, bass

Miller Theatre at Columbia University About Miller Theatre

Miller Theatre at Columbia University is the leading presenter of new music in New York City and one of the most vital forces nationwide for innovative programming. In partnership with Columbia University School of the Arts, Miller is dedicated to producing and presenting unique events, with a focus on contemporary and early music, jazz, and multimedia. Founded in 1988, Miller has helped launch the careers of myriad composers and ensembles, serving as an incubator for emerging artists and a champion of those not yet well known in the U.S. A four-time recipient of the ASCAP/Chamber Music America Award for Adventurous Programming, Miller continues to meet the high expectations set forth by its founders—to present innovative programs, support new work, and connect creative artists with adventurous audiences.

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