THE ORCHESTRA NOW

THE PERFORMING ARTS CENTER AT PURCHASE COLLEGE Concert Hall Saturday, April 1, 2017, at 8 PM

Performance #50: Season 2, Concert 21

James Bagwell, conductor

Bernard Herrmann (1911–75) North by Northwest Overture (1959)

Roy Harris (1898–1979) Symphony No. 3 (1938)

Intermission

Philip Glass (b. 1937) Symphony No. 1, Low (1992) Subterraneans Some Are Warszawa

The concert will run approximately 1 hour and 45 minutes, including one 20-minute intermission.

VIII CAMPFIRE TO CABARET THE ORCHESTRA NOW HYPNOTIC BRASS ENSEMBLE IX ABOUT THE CONDUCTOR THE ORCHESTRA NOW Leon Botstein, Music Director JAMES BAGWELL conductor James Bagwell maintains an active international VIOLIN I BASS TROMBONE schedule as a conductor of choral, operatic, and Amos C. Fayette, Paul Nemeth, Principal Matt Walley orchestral music. He was most recently named Concertmaster Milad Daniari Principal (Herrmann, Glass) associate conductor of The Orchestra Now (TO¯ N) and Diego Gabete William McPeters Gabe Cruz in 2009 was appointed principal guest conductor of Clara Engen Michael Franz Principal (Harris) the American Symphony Orchestra. From 2009–15 Leonardo Pineda Zhenyuan Yao Federico Ramos, he served as music director of The Collegiate Chorale. Lili Sarayrah Julian Lampert Bass Trombone Since 2011 he has collaborated with singer and Jiyoung Moon composer Natalie Merchant, conducting a number Andrés Rivas FLUTE TUBA of major orchestras across the country, including the Grace Choi Thomas J. Wible, Principal Dan Honaker {Photo by Kristin Hoeberman} by Kristin {Photo San Francisco and Seattle Symphonies. Mr. Bagwell Fangxi Liu Sasha Haft has trained choruses for numerous American and international orchestras, including the Kurt Munstedt TIMPANI Mostly Mozart Festival Orchestra, New York Philharmonic, Boston Symphony Orchestra, Drew Youmans OBOE Jonathan Wisner Los Angeles Philharmonic, Budapest Festival Orchestra, and American Symphony Orchestra. Hao Xing Aleh Remezau, Since 2003 he has been director of choruses for the Bard Music Festival. He is Professor of Principal (Herrmann) PERCUSSION Music at Bard College, and Director of Performance Studies and the Graduate Conducting VIOLIN II Kelly Mozeik, Tyson J. Voigt Program at the Bard College Conservatory. Youyang Qu, Principal Principal (Harris, Glass) Lara Baker-Finch Zachary Boeding, GUEST MUSICIANS THE ORCHESTRA NOW Coline Berland English Horn Founded in 2015, The Orchestra Now Holly Nelson FLUTE (TO¯ N) is an innovative pre-professional Akiko Kamigawara CLARINET Katherine Lee Althen orchestra and master’s degree program Erin David Micah Candiotti-Pacheco, st at Bard College that is preparing Michael Rau Principal (1 half) CLARINET a new generation of musicians to Adina Mu-Ying Tsai Sangwon Lee, Benjamin Baron nd break down barriers between modern Jiayu Sun Principal (2 half) audiences and great orchestral music Haemi Lee Elias Rodriguez, CONTRABASSOON of the past and present. Under the Bass Clarinet William Beecher leadership of Leon Botstein, TO¯ N VIOLA mines the wealth of underperformed Bonnie Heung, Principal BASSOON HORN repertoire, reimagines traditional Caleb Wong Dávid A. Nagy, Principal Daniel Salera {Photo by Matt Dine} by Matt {Photo concert formats, and strives to make Emmanuel Koh Adam Romey Cameron West the experience of the performers a part of the listeners’ experience. The musicians Omar Shelly Kyle Wilbert of TO¯ N hail from across the U.S. and eleven other countries: Australia, Canada, China, David Riker HORN France, Hungary, Japan, Korea, Malaysia, Spain, Taiwan, and Venezuela. They perform Scot Moore Philip Brindise, TUBA st regularly at the Richard B. Fisher Center for the Performing Arts at Bard College, Carnegie Chi Lee Principal (1 half) Aidan Zimmermann Hall, The Metropolitan Museum of Art, and Lincoln Center, and offer complimentary Marie-Elyse Badeau Shannon Hagan, nd concerts at venues across the boroughs of New York City in the Around Town series. Principal (2 half) PERCUSSION More info online at theorchestranow.org. CELLO Tim Skelly (on leave) Charles Kiger Lauren Peacock, Principal Benny Koonyevsky Jinn Shin TRUMPET Marielle Metivier Alana Shannon Szabolcs Koczur Zhilin Wang Chris Moran PIANO Eleanor Lee Zachary Silberschlag David Sytkowski Hui Zhang Andrew Borkowski HARP Kathryn Sloat

X CAMPFIRE TO CABARET THE ORCHESTRA NOW HYPNOTIC BRASS ENSEMBLE XI MEET THE TO¯N MUSICIANS MEET THE TO¯N MUSICIANS

MILAD DANIARI JULIAN LAMPERT bass bass

Milad will talk briefly about Herrmann’s North by Julian will talk briefly about Philip Glass’ Symphony Northwest Overture on stage before the performance No. 1, Low on stage before the performance

Hometown: Dallas, Texas Hometown: Lawrenceville, New Jersey Alma mater: Manhattan School of Music Alma mater: Rutgers University Awards/Competitions: Finalist, Fort Worth Favorite obscure piece: Elgar’s Sea Pictures Symphony Young Artist Competition; MSM Ambrose Favorite composer fact: Charles Mingus trained Monell Foundation Scholarship; Lillian Fuchs Chamber his pet cat, Nightlife, to use the toilet, and authored Music Competition; soloist with the Maryland Youth the immensely informative Charles Mingus CAT-alog {Photo by Jito Lee} by Jito {Photo Symphony (Mahler’s Songs of a Wayfarer) Lee} by Jito {Photo for Toilet Training Your Cat. Take note: “The main Appearances: National Repertory Orchestra; Round Top Festival Institute; Chelsea Music thing to remember is not to rush or confuse him.” Festival; Alba Music Festival; Basses Loaded concert series, Victoria Summer Music Festival, Favorite non-classical musician or band: Grupo Folkorico y Experimental Nuevayorquino, alongside Gary Karr; Manhattan School of Music Symphony Orchestra, principal bass; Union a collective of New York-based Latin musicians who recorded two legendary records in City Philharmonic Orchestra; Gateway Classical Music Society; Chesapeake Orchestra; the ’70s Romanian State Orchestra Musical guilty pleasure: Playing percussion instruments Musical origins: I began playing bass at the age of 12 because I wanted to play the Jaws Last book read: Dune by Frank Herbert movie theme. Favorite painting: Any painting by Pieter Bruegel the Elder Most fun piece to play: Ein Heldenleben or any Strauss tone poem. The bass parts are Piece of advice for a young classical musician: Don’t stress complete rock and roll. Time travel destination: Cuba from 1920 to the 1950s to catch performances by Favorite composer fact: Arnold Schoenberg had a fear of the number 13 and then legends such as Arsenio Rodríguez, Beny Moré, Trío Matamoros, and La Sonora Matancera happened to die on a Friday the 13th. The thing most people don’t know about classical music is: Classical musicians are a wild group and party as hard as the next guys. Favorite non-classical musician: Frank Sinatra

MICHAEL FRANZ bass

Michael will talk briefly about Harris’ Symphony No. 3 on stage before the performance

Hometown: Burlington, Vermont Alma mater: Eastman School of Music Awards/Competitions: Winner, 2015 Doublestop Foundation Competition Apperances: Opera Company of Middlebury, Binghamton Philharmonic, New York String {Photo by Jito Lee} by Jito {Photo Orchestra, Moritzburg Festival Musical origins: I began playing double bass in public school at the age of 14 after having played trumpet, euphonium, and electric bass.

XII CAMPFIRE TO CABARET THE ORCHESTRA NOW HYPNOTIC BRASS ENSEMBLE XIII NOTES FROM TO¯N MUSICIANS NOTES FROM TO¯N MUSICIANS

BERNARD HERRMANN Harris was born in a log cabin to poor farmers, and at age 5 his family moved from Oklahoma North by Northwest Overture to southern California. He remained primarily self-taught until attending UC Berkeley in his Notes by Akiko Kamigawara, viola 20s, where he eventually made connections on the East Coast, and even studied in Paris under Nadia Boulanger from 1926–29. It was here that he first became interested in Renaissance Bernard Herrmann was a film composer whose composition style radically changed the music, which greatly influenced his compositional style throughout his life. role of music in films and expanded the language of filmmaking through collaborations with iconic directors such as Alfred Hitchcock, Martin Scorsese, and François Truffaut. Harris was something of a classical music activist. His compositions often contained controversial American themes such as slavery and the Civil War. He also founded the Until the late 1940s and 50s, music in Hollywood films was generally used to create a sense International String Congress and the American Composers Alliance (both of which are still of anticipation by accentuating the on-screen drama. For example, long-phrased romantic active today). He was very interested in indigenous music, and his musical style is heavily and sentimental tunes played with strings and a heavy use of vibrato were typical. This style based in American folksong and jazz traditions. These styles are intertwined with pre-classical of music, known as the “Hollywood Sound,” was characteristic of movies in the 30s and European traditions, such as fugues and baroque dances. 40s. But after the Second World War filmmaking changed dramatically; directors started to focus on human emotion after the public’s burgeoning interest in psychoanalysis. Films His Symphony No. 3 is a perfect example of this kind of fusion. The symphony is one single emphasized the inner world of the characters, while new discoveries and novel techniques movement, divided into five connecting sections. The first section, Tragic, opens with a in cinematography added subtle tension and psychological effects in order to evoke a singular dramatic line in the lower strings, harmonized by perfect 4ths and 5ths in the style reaction from the audience. of organum writing from the 12th century. Eventually the orchestral tone warms up into the Lyrical section, when the horns enter. The violins continue the melody from the opening, Alfred Hitchcock was one of the first directors to use these cinematography techniques, editing, eventually climaxing with the horns before settling into the Pastoral section. Finally the and music instead of dialogue or over-the-top gestures to convey a story. Referring to his winds enter, at first in fragmented dialogue with the strings but gradually becoming more style of filmmaking as “pure-cinema,” sound became a crucial and integral part of the film, bold and continuous. This section is characterized by a folk-dance feel, almost like a strategically used to evoke fear, tension, and anxiety with surgical precision. Even selective hoedown. The horns interrupt with the subject of the next section, Fugue-Dramatic. This is use of silence could be used to create mounting tension or uncertainty. of course a throwback to Baroque traditions, set in the context of a boisterous polyrhythm. Harris develops this for a while in contrapuntal fashion, but eventually the exuberant Herrmann’s compositional genius and obstinate behavior is on full display in the North by character gives way to the darker Dramatic-Tragic closing section. The opening theme Northwest Overture. Although originally requested to compose a Gershwinian score by comes back, this time in the horns and punctuated by the timpani, until eventually it ends in the studio, he instead combined a Fandango rhythm with an unexpected combination of a dramatic march-like coda. instruments to foreshadow the drama that is to occur in the movie. By alternating rhythm patterns between 3/4 and 6/8 time signatures, he creates an awkward, uncertain mood, Although initial reviews of the piece were somewhat chilly, eventually it became recognized indicating the upcoming danger and confusion of a man who is mistaken for a spy. Described for its uniquely American style and folk elements. The symphony still holds a place in the by Herrmann as “a maddening dance with death—a kaleidoscopic orchestral fandango designed repertoire and has aptly been described as the “quintessential American Symphony.” to kick-off the exciting rout which follows,” it starts with a spooky bassline and evolves into a wild rhythmic repetition of glockenspiel and strings. The overture contains all of the music ideas that we hear again later in the film, which are then economically transformed PHILIP GLASS and combined. Symphony No. 1, Low Notes by Lauren Peacock, cello Although there were many more prominent American classical composers, such as Charles Ives, Aaron Copland, and Roy Harris, Herrmann's influence was far greater as he brought Philip Glass titled his Symphony No. 1 “Low” after the 1977 album by David Bowie and Brian contemporary classical music and composition techniques out of the domain of the concert Eno. The three movements, ‘Subterraneans,’ ‘Some Are,’ and ‘Warszawa,’ are titled after three scene and into the public eye through film. songs on the album and each movement uses musical material directly from the songs. ‘Some Are’ was not on the original album, but was released on a later remastered version. The three songs were chosen by Glass because unlike the other nine on the album that had a strong ROY HARRIS rock beat, these three are mainly instrumental and Bowie experimented with synthesizers Symphony No. 3 and sounds that could transfer into orchestral timbres and textures. As an experimental and Notes by Michael Rau, violin minimalist composer, Glass found that he and Bowie had similar musical interests. In describing their connection he said, “The generation of people who were doing experimental music got If you were to ask the person sitting in the seat next to you to list important and influential very interested in the people who were doing experimental rock music. For one thing, we had American symphonic composers of the 20th century, you would most likely hear some of the similar kinds of technology and similar ideas about things. Our backgrounds were different following names: Copland, Barber, Ives, Gershwin, and perhaps Glass or Hanson. One name and our audiences were different. But in many other ways, there was a lot of room for, say, which you might not hear is Roy Harris. Born in Oklahoma, Harris was often overshadowed beneficial influences.” Glass successfully composed a symphonic work that was influenced by his East Coast-dwelling colleagues. However, his imprint on the American classical music directly from a rock album of the late 70s and brought it to the classical concert hall. scene is important and lasting, and should not be overlooked.

XIV CAMPFIRE TO CABARET THE ORCHESTRA NOW HYPNOTIC BRASS ENSEMBLE XV NOTES FROM TO¯N MUSICIANS THE TO¯N FUND DONORS

On Bowie’s album, ‘Subterraneans’ contains solely electronic sounds that are mainly The Orchestra Now gratefully acknowledges the generous support of each and every donor synthesized string sounds or long sustained notes that Glass was able to translate into who makes our work a reality. Thank you for making this important investment in a new string parts. In the beginning, it uses the main material from Bowie’s song and then Glass generation of musicians. develops it by recombining melodic elements and using various repeating rhythmic and harmonic textures. The third movement, ‘Warszawa,’ is directly quoted at the beginning, The Andrew W. Mellon Hans R. Gunderud Maury Newburger and Glass captures the sound by using the basses and piano to mimic the synthesizer. Glass Foundation Stan Harrison Mr. and Mrs. Robert Renbeck said, “My approach was to treat the themes very much as if they were my own and allow Anonymous (6) Erica Kiesewetter Ellen Reynolds their transformations to follow my own compositional bent when possible. In practice, Tamarah and Carley Balazs Marilyn and William L. Susan and D. Richard however, Bowie and Eno’s music certainly influenced how I worked, leading me to Joseph J. Baxer and Kirchner Rowland sometimes surprising musical conclusions. In the end I think I arrived at something of a real Barbara Anne Bacewicz The Kurt Weill Foundation Roberta Sandeman collaboration between my music and theirs." In 1996, Glass based his Symphony No. 4, Pamela Berlinghof for Music Barbara A. and Joseph “Heroes,” off of Bowie's following album. Maria J. Chiu Joy Lee and Richard Packert Schoenberg Lisa Cohen Arthur S. Leonard Stephen Shafer Elaine Dale Peter J. and Susan B. Frances Sharpless Nicole M. de Jesús LeVangia Jo Shute and Allan Wieman Thomas De Stefano Elinor Wallach Levin Jen Shykula and Tom Ochs Vincent M. Dicks Amala and Eric Levine Peter Sipperley Michael Dorf Ernest Lieber Felicitas S. Thorne The Elgar Society Bonnie Loopesko and Howard Wallick Denise and Scott Engen Daniel Shapiro Ann and Douglas William, Barbara Ewert Andrea Louie in honor of the weddings of Arnold and Milly Feinsilber Warren R. Mikulka Chelsea & Eric Gottlieb and Elaine Frank Karen E. Moeller and Stephanie & Fred Peters The Gallego and Charles H. Talleur Shelley and Vic Wisner, Maliner Families, Roy Moses in honor of Jonathan Wisner in memory of Chester Joanne and Richard Mrstik Wendy Wolfenson (Chet) J. Borkowski III John D. Murphy Marlene Zaslavsky GE Foundation Marcia Neeley Leila Zogby Gary M. Giardina We also gratefully acknowledge the following donors who generously supported TO¯ N’s first anniversary celebration at City Winery on October 13, 2016. Thank you for joining the festivities! SET THE TO¯N: A CELEBRATION OF THE ORCHESTRA NOW

Rebecca Ackerman Bridget Kibbey Brigitte R. Roepke, Paul L. Audet Sylvia and Nelson Kier Hospitality Committee for Tamarah Balazs Lise Laurent United Nations Delegations Susan Beckerman Todd D. Marcus Charles Roth Miriam R. Berger Lisa Marshall Jen Shykula and Tom Ochs Dr. László Z. Bitó and Christine Munson Felicitas S. Thorne Olivia Cariño James and Andrea Nelkin Brian P. Walker José M. de Jesús, Jr. Maury Newburger Clint White Khoa Doan Hoang-Oanh Nguyen Philip and Martha White Michael Dorf Douglas Okerson and Ingrid Yen Elizabeth Duby William Williams Carrie E. Yotter Lauren Effron Mr. and Mrs. James H. Ian Zimmerman Scott Huang Ottaway, Jr. Laura Kaminsky Arthur S. Reynolds Lists current as of March 15, 2017 Caroline Kelch

XVI CAMPFIRE TO CABARET THE ORCHESTRA NOW HYPNOTIC BRASS ENSEMBLE XVII THE ORCHESTRA NOW

ARTISTIC STAFF ADMINISTRATIVE STAFF Leon Botstein Lynne Meloccaro THE PERFORMING Music Director Executive Director James Bagwell Oliver Inteeworn Associate Conductor and Academic Director Managing Director ARTS CENTER, Zachary Schwartzman Brian J. Heck Resident Conductor Director of Marketing Erica Kiesewetter Nicole M. de Jesús PURCHASE COLLEGE Director of Audition Preparation and Director of Development Principal String Coach Sebastian Danila Bridget Kibbey Music Preparation and Researcher and STAGEVIEW Director of Chamber Music and Marielle Metivier Arts Advocacy Orchestra Manager Alice Terrett Marketing Associate Benjamin Oatmen Librarian Hsiao-Fang Lin Assistant Orchestra Manager Kristin Roca STAGEVIEW: Administrative Assistant your paperless program book BARD COLLEGE Scan the code located to the left with your BOARD OF TRUSTEES Andrew S. Gundlach smart device for Charles P. Stevenson, Jr., Chair Emeritus Sally Hambrecht James C. Chambers ’81, Chair Marieluise Hessel additional information Emily H. Fisher, Vice Chair Maja Hoffmann George F. Hamel, Jr., Vice Chair Matina S. Horner+ on the show, or visit Elizabeth Ely ’65, Secretary, Life Trustee Charles S. Johnson III ’70 Stanley A. Reichel ’65, Treasurer, Mark N. Kaplan, Life Trustee www.stageview.co/pac Life Trustee George A. Kellner Fiona Angelini Fredric S. Maxik ’86 Roland J. Augustine James H. Ottaway, Jr., Life Trustee Leon Botstein+ Martin Peretz, Life Trustee Stuart Breslow+ Stewart Resnick, Life Trustee Mark E. Brossman David E. Schwab II ’52 Thomas M. Burger+ Roger N. Scotland ’93, Alumni/ae Trustee Marcelle Clements ’69, Life Trustee Jonathan Slone ’84 Craig Cogut James A. von Klemperer The Rt. Rev. Andrew M. L. Dietsche, Brandon Weber ’97, Alumni/ae Trustee Honorary Trustee Susan Weber Asher B. Edelman ’61, Life Trustee Patricia Ross Weis ’52 NO APPS. NO DOWNLOADS SOCIAL INTERACTION PURCHASE TICKETS Paul S. Efron Access your program book Connect to your favorite Purchase tickets for Robert S. Epstein ’63 + ex officio quickly and securely without venue and performers upcoming shows right Barbara S. Grossman ’73, Alumni/ae Trustee a cumbersome download. while you sit in the audience. from your seat.

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