Mar 16 2018 The Great Hall at Cooper Union

Mar 18 2018 Hudson Hall Fri, March 16, 2018 at 7:30 PM Sunday, March 18, 2018 at 3 PM Hello! The Great Hall at Cooper Union Hudson Hall Performances #83 & #84: Season 3, Concerts 20 & 21 We’re so glad you’ve joined us today. In TŌN, our goal is to make orchestral music relevant James Bagwell, conductor to today’s audiences. Here’s how we’re doing things a little differently: Arvo Pärt Fratres for String Orchestra and Percussion (b. 1935) (1977, rev. 1991) Let’s Chat Some of us will be introducing the Virgil Thomson The Plow that Broke the Plains, Suite for music, and even more in the hall at (1896–1989) Orchestra (1936) intermission. Come say hi, grab a Prelude selfie, ask some questions, and let us Pastorale (Grass) know your thoughts. Cattle Blues (Speculation) Drought We Live for the Applause Devastation We love your energy! There’s no need to wait till the end—if the music moves you, feel free to applaud any time the Intermission conductor’s baton goes down.

Be a Social Butterfly Symphony in C (1855) If you have a great time, let your (1838–75) Allegro vivo Adagio friends know: share a photo or video Allegro vivace (without disturbing anyone else), and Allegro vivace use #theorchnow and tag us @theorchnow.

To find out more about usand what we think about the music, look through this program and visit theorchestranow.org. To stay up to date with TŌN emails, see the insert in this program. And to find out how you can support the orchestra, turn to page 12. The concert will run approximately 1 hour and 35 minutes, including one 20-minute intermission. But above all else, we invite you to sit back and

ENJOY! No beeping or buzzing, please! Silence all electronic devices. Photos and videos are encouraged, but only before and after the music.

THEORCHESTRANOW.ORG 3 ABOUT ABOUT THE PROGRAM THE PROGRAM

Arvo Pärt Fratres Fratres was one of the first works to come out of Arvo Pärt’s “creative silence” of the mid-1970s, when he remained publicly silent for several years while he explored new avenues for his music. The piece is also one of the first compositions of his triad-based tintinnabulation style—derived from the Latin term for “little bells”—which he developed after becoming inspired by Gregorian chants and early Renaissance polyphony. A purely tonal method of composition, tintinnabuli pairs a single melody line against TŌN’S CARL GARDNER ON a secondary line that provides harmony, which lead to moments of silence BIZET’S SYMPHONY IN C from which all subsequent music is born. As Pärt described: Tintinnabulation is an area I sometimes wander into when I am searching What I find interesting is that Bizet wrote this when he was 17 years old, while he for answers—in my life, my music, my work . . . Tintinnabulation is like this. was at the Paris Conservatory, and he had no intention of having it played or Here I am alone with silence. I have discovered that it is enough when published—it wasn’t until after his death that it was discovered in the conservatory a single note is beautifully played. This one note, or a silent beat, or a library. He wrote this symphony when he was studying with . moment of silence, comforts me. I work with very few elements—with Gounod had written his first Symphony in D just a few years earlier, and he one voice, with two voices. I build with the most primitive materials—with employed his student, Bizet, to transcribe the work for two pianos. So while Bizet the triad, with one specific tonality. The three notes of the triad are like was writing his Symphony in C as homework for Gounod, he was simultaneously bells. And that is why I called it tintinnabulation. transcribing Gounod’s first ever complete symphony. As a result, there are similar themes between the two; he pays homage to Gounod throughout the work. In Fratres, the six-bar theme is repeated and moved to new tonal levels, mostly by thirds. It was first performed by the Estonian early music ensemble Even though Bizet was young, his melodic material was well-developed. The form Hortus Musicus, but from this work there have been numerous variations is very typical, classical, and perfect; it follows the idiom of a classical symphony. scored for a variety of ensembles with the musical substance remaining This is hardly Bizet’s most innovative work. However, what he does to impress us mostly unchanged. Arrangements include those for violin and piano; for lies in the way he treats certain themes, passing those themes on, creating these strings and percussion, with and without solo violin; for wind octet and 3- and 4-note passages, and developing them throughout time. This quality percussion; for string quartet; and for eight cellos. reminds me very much of playing a symphonic work by Beethoven. I think it’s a beautiful symphony. You can tell that it’s very technically thought out—it would have been an A+ paper when he was in school.

I hear very many of the operatic qualities that appear in Bizet’s later works. Specifically, I would point to the solos in the second movement, which are very haunting and beautiful. The oboe melody reminds me of something that a passionate tenor would sing when faced with an obstacle on his way to being with his true love. For me, that sounds like a kernel of his voice that is evident later on when he writes . The first movement is very lively, upbeat, and full of exciting syncopations. The second movement is much more introspective, with the oboe solo setting the tone. The third movement feels like “The Dance” where the two lovers in our pretend opera finally overcome their struggles and unite together against the world; it’s a scherzo, so it’s a joke, happy and joyful. Lastly, the fourth movement is your typical grand finale. For our purposes, this could be the point in the opera when Bizet puts a musical punctuation on the journey all of our characters have just experienced and transformed through together.

4 @TheOrchNow THEORCHESTRANOW.ORG 5 ABOUT MEET THE THE PROGRAM CONDUCTOR

Virgil Thomson The Plow that Broke the Plains Suite This piece was originally written for the film score of the 1936 short documentary film The Plow That Broke the Plains, which focused on the suffering of those living in the Great Plains during the 1930s. The Plow was directed by Pare Lorentz for the Farm Resettlement Administration of the U.S. Department of Agriculture, a program created as part of the New Deal. Thomson worked alongside Lorentz, who shared his enthusiasm for folk music, and orchestrated the music in a ten-day period, incorporating James Bagwell many folk melodies, as well as popular and religious music, into the score. conductor As he noted in his autobiography: “I knew the Great Plains landscape in James Bagwell maintains an active international schedule as a conductor Kansas, Oklahoma, New Mexico, Texas; and during the war I had lived in of choral, operatic, and orchestral music. He was most recently named a tent with ten-below-zero dust storms. I had come to the theme nostalgic associate conductor of The Orchestra Now (TŌN) and in 2009 was appointed and ready to work . . . the subject, moreover, was highly photogenic— principal guest conductor of the American Symphony Orchestra. From broad grasslands and cattle, mass harvesting, erosion by wind, deserted 2009–15 he served as music director of The Collegiate Chorale. Some of the farms.” highlights of his tenure with them include conducting a number of operas-in- concert at Carnegie Hall, including Bellini’s Beatrice di Tenda, Rossini’s Möise In 1942, Thomson arranged the six-movement orchestral suite, omitting et Pharaon, and Boito’s Mefistofele. He conducted the New York premiere several more substantial sections that were included in the original score of Philip Glass’ Toltec Symphony and Golijov’s Oceana, both at Carnegie for the film. The movement “Cattle” is notable for its cowboy ballads, while Hall. Since 2011 he has collaborated with singer and composer Natalie the final in “Devastation” is based on an old song tradition with Merchant, conducting a number of major orchestras across the country, disappointed farmers of the Southwest, “I’m Gonna Leave Old Texas Now.” including the San Francisco and Seattle Symphonies.

Mr. Bagwell has trained choruses for numerous American and international orchestras, including the Mostly Mozart Festival Orchestra, New York Philharmonic, Boston Symphony Orchestra, Los Angeles Philharmonic, Budapest Festival Orchestra, and American Symphony Orchestra. He has worked with numerous conductors, including Charles Dutoit, Andris Nelsons, Gustavo Dudamel, Alan Gilbert, Gianandrea Noseda, Valery Gergiev, Yannik Nézet-Séguin, Zubin Mehta, Riccardo Muti, Lorin Maazel, Esa-Pekka Salonen, Michael Tilson Thomas, Louis Langrée, Leon Botstein, Ivan Fischer, Jesús López-Cobos, and Robert Shaw.

Mr. Bagwell prepared The Collegiate Chorale for concerts at the Verbier Festival in Switzerland; in 2012 the Chorale traveled to Israel and the Salzburg Festival for four programs with The Israel Philharmonic. Since 2003 he has been director of choruses for the Bard Music Festival, conducting and preparing choral works during the summer festival at The Richard B. Fisher Photo by Hoeberman Kristin Center for the Performing Arts. He frequently appears as guest conductor for orchestras around the country and abroad, including the Cincinnati Symphony, Jerusalem Symphony, and the Interlochen Music Festival. He is Professor of Music at Bard College, and Director of Performance Studies and the Graduate Conducting Program at the Bard College Conservatory.

6 Text TON to 33233 for email updates THEORCHESTRANOW.ORG 7 The Orchestra Now (TŌN) is a group of vibrant young musicians from Leon Botstein, Music Director across the globe who are making orchestral music relevant to 21st-century Violin I Flute Harp audiences. They are lifting the curtain on the musicians’ experience and Yuqian Zhang, Matthew Ross, Emily Melendes ( ) sharing their unique personal insights in a welcoming environment. Concertmaster Principal on leave Adina Mu-Ying Tsai (Thomson) Hand-picked from the world’s leading conservatories—including Youyang Qu Denis Savelyev, Principal *not performing in this concert The Juilliard School, Shanghai Conservatory of Music, Royal Conservatory Hao Xing (Bizet) of Brussels, and the Curtis Institute of Music—the members of TŌN are Yurie Mitsuhashi Thomas J. Wible (on leave) Members of TŌN can be identified by their distinctive blue attire. not only thrilling audiences with their critically acclaimed performances, Violin II Oboe but also enlightening curious minds by giving on-stage introductions and Guest Musicians Weiqiao Wu, Principal Aleh Remezau, Principal demonstrations, writing concert notes from the musicians’ perspective, and Lili Sarayrah (Thomson) Tenor Saxophone having one-on-one discussions with patrons during intermissions. Haemi Lee James Jihyun Kim, Principal Christopher Brellochs Clara Engen (Bizet) Grace Choi Kelly Mozeik Conductor, educator, and music historian Leon Botstein founded TŌN in Hyunjae Bae* Regina Brady* Timpani 2015 as a master’s degree program at Bard College, where he also serves as Coline Berland* Charles Kiger (Thomson) president. The orchestra is in residence at Bard’s Richard B. Fisher Center for Diego Gabete* the Performing Arts, performing multiple concerts there each season as well Fangxi Liu* Micah Candiotti-Pacheco, Percussion Andrew Funcheon as taking part in the annual Bard Music Festival. They also perform regularly Jiyoung Moon* Principal (Thomson) Leonardo Pineda* Sangwon Lee, Principal (Bizet) at the finest venues in New York, including Carnegie Hall, Lincoln Center, Michael Rau* Elias Rodriguez Banjo/Guitar The Metropolitan Museum of Art, and others across NYC and beyond. The Jiayu Sun* Stephen Benson orchestra has performed with many distinguished conductors, including Lila Vivas Blanco* Bassoon Fabio Luisi, Neeme Järvi, Gerard Schwarz, and JoAnn Falletta. Drew Youmans* Carl Gardner, Principal (Thomson) Viola Adam Romey, We invite you to get to know TŌN and discover music in the making! Explore Principal (Bizet) Bonnie Heung, Principal upcoming concerts, see what our musicians have to say, and more at Emmanuel Koh Horn theorchestranow.org. Omar Shelly Anna Lenhart, Principal Caleb Wong (Thomson) Chi Lee* Shannon Hagan, Principal Scot Moore* (Bizet) Yuan Qi (on leave) Jamie Sanborn Ethan Brozka Cello Philip Brindise Eleanor Lee, Principal Zhilin Wang Trumpet Danny Poceta Zachary Silberschlag, Principal Jinn Shin (Thomson) Kyle Anderson* Anita Tóth, Principal (Bizet) Andrew Borkowski* Szabolcs Koczur (on leave) Lauren Peacock* Alana Shannon* Hui Zhang* Gabe Cruz, Principal Federico Ramos, Bass Trombone Bass Matt Walley* Milad Daniari, Principal Michael Franz Tuba Zhenyuan Yao Dan Honaker* Joshua DePoint* Casey Karr* Percussion William McPeters* William Kaufman Paul Nemeth* Miles Salerni* Luke Stence* Photo by Matt Dine

8 @TheOrchNow THEORCHESTRANOW.ORG 9 MEET THE MEET THE TŌN MUSICIANS TŌN MUSICIANS Photo by Jito Lee

Yuqian Zhang Emmanuel Koh violin viola

Hometown: Sichuan, China Emmanuel will talk briefly about Bizet’s Symphony in C on stage before the Alma maters: Sichuan Conservatory of Music, San Francisco Conservatory performance. of Music Home countries: Singapore and Malaysia Appearances: Zephyr International Chamber Music, Italy, 2014 & 2017; The Second U.S Music School Piano and Violin Music Festival, China, 2012 Alma maters: University of Michigan, University of Akron Musical origins: I began playing the violin at age 4. My first violin teacher Appearances: Bowdoin International Music Festival, 2012; Montecito picked me to play the violin when I was in Kindergarten. International Music Festival, 2011 Favorite pieces to play: Fauré’s Piano Quartet No. 1 in C minor, Beethoven’s Favorite piece to play: Richard Strauss’ Death and Transfiguration Violin Sonata No. 7, Mahler’s Symphony No. 1 Favorite obscure piece: Erik Satie’s Embryons desséchés Favorite non-classical musician: Jay Chou Favorite composer fact: Erik Satie wrote a song about a sea cucumber. What recording would you take to a deserted island: Tchaikovsky’s Symphony Favorite musical memory: Sometimes when I take my viola out of a case, it’s No. 5 played by the San Francisco Symphony already in tune. #soundslikespringtime Favorite non-musical hobby or activity: Watching movies and having Sichuan Which composer would have had the best social media: Franz Liszt. hot pot with friends Apparently, women would scream and faint when he performed. Favorite book: Harry Potter! Favorite fact about your instrument: Playing the viola is like playing the violin, Time travel destination: Qing Dynasty but with the difficulty setting turned up to “hardcore.” Favorite non-classical band: Hyukoh Musical guilty pleasure: K-pop Best song to have on repeat: Tunak Tunak Tun by Daler Mehndi

@zhangxiaomeier What recording would you take to a deserted island: “Mr. Lonely” by Bobby Vinton Last book read: The Screwtape Letters by C.S. Lewis

10 Text TON to 41444 to donate THEORCHESTRANOW.ORG 11 THE THE TŌN FUND TŌN FUND DONORS

The Orchestra Now gratefully acknowledges the generosity of each and every TŌN DONORS donor who makes our work possible. Thank you for making an investment in the future of music! HELP CLASSICAL Rebecca Ackerman Hospitality Committee Marcia Neeley The Andrew W. Mellon for United Nations James and Andrea Nelkin MUSIC THRIVE! Foundation Delegations (HCUND) Maury Newburger Anonymous (11) Scott Huang Hoang-Oanh Nguyen In TŌN, the next generation of great performers is Tamarah and Carley Balazs Malcolm G. Idelson Philip and Carol Niles learning to communicate the transformative power Joseph J. Baxer and Jill Jackson Yuka Nishino of music to 21st-century audiences. Barbara Bacewicz Laura Kaminsky Bette and Stan Nitzky Susan Beckerman Caroline Kelch Douglas Okerson and Miriam R. Berger John and Mary Kelly William Williams This innovative master’s degree program, the first of Pamela Berlinghof Steven Kent James H. Ottaway Jr. its kind in the U.S., combines an academic degree Dr. László Z. Bitó and Olivia Bridget Kibbey Dr. Nora Post with real-world professional experience. Cariño Sylvia and Nelson Kier Kurt and Lorenzo Rausch Rosemary Carroll Erica Kiesewetter Robert Renbeck Your tax-deductible contribution will support: Maria J. Chiu Younghee Kim-Wait Arthur S. Reynolds Lisa Cohen Marilyn and William L. Ellen Reynolds »» Student-led community music programs in Theodore and Alice Ginot Kirchner Brigitte R. Roepke schools, libraries, and more! Cohn The Kurt Weill Foundation Glen and Denise Ross Elaine Dale for Music Charles Roth »» Powerful performances at Carnegie Hall, Bard’s Joanna de Jesús-Fenicle S. Lachterman Susan and D. Richard Fisher Center, The Metropolitan Museum of Art, José M. de Jesús, Jr. and Lise Laurent Rowland and Jazz at Lincoln Center. Rebecca Shafer-de Jesús Joy Lee and Richard Roberta Downs Sandeman Nicole M. de Jesús and Packert Barbara A. and Joseph »» Around Town concerts, free and open to the Brian P. Walker Arthur S. Leonard Schoenberg general public, in which we share great music Thomas De Stefano Peter J. and Susan B. Stephen Shafer with children and families in communities across Marvis Dickinson LeVangia Frances Sharpless NYC, the Hudson Valley, and beyond! Vincent M. Dicks Elinor Wallach Levin Mary Sheerin Khoa Doan Amala and Eric Levine Jo Shute and Allan Wieman TŌN is shaping a bright future for classical music, Michael Dorf David Levering Lewis Jen Shykula and Tom Ochs Elizabeth Duby Ernest and Erika Lieber Peter Sipperley beginning with the musicians who will sustain this art Lauren Effron Bonnie Loopesko and Paul Stoddard form for future generations to enjoy. The Elgar Society Daniel Shapiro Joseph Storch Denise and Scott Engen Andrea Louie Felicitas S. Thorne There’s simply no other music degree program like Barbara Ewert Todd D. Marcus Howard Wallick TŌN. Please consider making a contribution and Arnold and Milly Feinsilber Lisa Marshall Patricia Ross Weis invest in the future of music! Mark Feinsod James M. Mastrangelo Philip and Martha White Roz Forman Ginny and Guenther May Ann and Douglas William Elaine Frankle Mollie Meikle Shelley and Vic Wisner The Gallego and Maliner Maryanne C. Mendelsohn Wendy Wolfenson TO DONATE: Families Warren R. Mikulka Nelson Yan GE Foundation Karen E. Moeller and Ingrid Yen Gary M. Giardina Charles H. Talleur Carrie E. Yotter Debby and Fred Glynn Roy Moses Shirley Young

Photo by Jito Lee Hans R. Gunderud Joanne and Richard Mrstik Marlene Zaslavsky or or Hastings Digital Patrick Mucerino Ian Zimmerman TEXT VISIT CALL Stephen J. Hoffman Christine Munson Leila Zogby TON TO 41444 THEORCHESTRANOW. 646.237.5022 Martin Holub and Sandra John D. Murphy ORG/SUPPORT Sanders Bonni Nechemias List current as of March 9, 2018

12 @TheOrchNow THEORCHESTRANOW.ORG 13 THE ABOUT ADMINISTRATION HUDSON HALL

THE ORCHESTRA NOW Hudson Hall is a cultural beacon in the Hudson Valley, offering a dynamic year- round schedule of music, theater, dance, literature, workshops for youth and Artistic Staff Administrative Staff adults, as well as family programs and large-scale community events such as Leon Botstein, Lynne Meloccaro, Music Director Executive Director Winter Walk. Located in a historic landmark that houses New York State’s oldest James Bagwell, Associate Conductor and Oliver Inteeworn, Managing Director Academic Director Brian J. Heck, Director of Marketing surviving theater, Hudson Hall underwent a full restoration and reopened to Zachary Schwartzman, Resident Conductor Nicole M. de Jesús, Director of Development the public in April 2017 for the first time in over 55 years. The newly restored Andrés Rivas, Sebastian Danila, Assistant Conductor Music Preparer and Researcher Hudson Hall reflects Hudson’s rich history in a modern facility that welcomes Erica Kiesewetter, Director of Audition Preparation Marielle Metivier, Orchestra Manager and Principal String Coach Alice Terrett, Marketing Associate residents and visitors from throughout our local community, across the nation, Bridget Kibbey, Director of Chamber Music and Benjamin Oatmen, Librarian and around the globe. Arts Advocacy Hsiao-Fang Lin, IT Associate Viktor Tóth, Production Coordinator More info at hudsonhall.org. Kristin Roca, Administrative Assistant

BARD COLLEGE

Board of Trustees Charles P. Stevenson Jr., Chair Emeritus Sally Hambrecht James C. Chambers ’81, Chair Marieluise Hessel George F. Hamel Jr., Vice Chair Maja Hoffmann Emily H. Fisher, Vice Chair Matina S. Horner+ Elizabeth Ely ’65, Secretary, Life Trustee Charles S. Johnson III ’70 Stanley A. Reichel ’65, Treasurer, Life Trustee Mark N. Kaplan, Life Trustee Fiona Angelini George A. Kellner Roland J. Augustine Fredric S. Maxik ’86 Leon Botstein+ James H. Ottaway Jr., Life Trustee Stuart Breslow+ Martin Peretz, Life Trustee Mark E. Brossman Stewart Resnick, Life Trustee Thomas M. Burger+ David E. Schwab II ’52 Marcelle Clements ’69, Life Trustee Roger N. Scotland ’93, Alumni/ae Trustee Craig Cogut Jonathan Slone ’84 The Rt. Rev. Andrew M. L. Dietsche, James A. von Klemperer Honorary Trustee Brandon Weber ’97, Alumni/ae Trustee Asher B. Edelman ’61, Life Trustee Susan Weber Paul S. Efron Patricia Ross Weis ’52 Robert S. Epstein ’63 Barbara S. Grossman ’73, Alumni/ae Trustee + ex officio Andrew S. Gundlach

14 Text TON to 33233 for email updates THEORCHESTRANOW.ORG 15 UPCOMING EVENTS BERLIOZ’S SYMPHONIE FANTASTIQUE THU MAR 29 at Jazz at Lincoln Center’s Rose Theater plus Walter Braunfels’ Fantastic Appearances of a Theme by Berlioz

Leon Botstein, conductor

STRAVINSKY’S THE RITE OF SPRING SAT APR 14 & SUN APR 15 at the Fisher Center at Bard College plus Stravinsky’s Funeral Song, Symphony of Psalms, and Requiem Canticles

Leon Botstein, conductor Katherine Pracht, mezzo-soprano; Jonathan Beyer, baritone; the Bard College Chamber Singers & Bard Festival Chorale; and members of the Bard College Conservatory Orchestra

BARTÓK’S CONCERTO FOR TWO PIANOS THU MAY 3 at Carnegie Hall plus two colorful symphonies by László Lajtha and Ahmed Adnan Saygun

Leon Botstein, conductor Peter Serkin & Anna Polonsky, piano

SIGHT & SOUND DEBUSSY & FRENCH PAINTING: BEYOND REALISM SUN MAY 20 at The Metropolitan Museum of Art Debussy’s Nocturnes and the artwork of the French Impressionists

Leon Botstein, conductor with members of the Bard Festival Chorale

Sample the music, get all the details, buy tickets, and more at THEORCHESTRANOW.ORG

©2018 The Orchestra Now | Program Design: Nelson Yan