A Fine Centennial FRIDAY MAY 16, 2014 8:00 A Fine Centennial FRIDAY MAY 16, 2014 8:00 JORDAN HALL AT NEW ENGLAND CONSERVATORY

Pre-concert talk with Nicholas Alexander Brown, Music Director & Founder, The Society – 7:00

IRVING FINE Blue Towers (1959) Remarks by Eric Chasalow, Irving G. Fine Professor of Music, and Emily and Claudia Fine

IRVING FINE Diversions for Orchestra (1959) I. Little Toccata II. Flamingo Polka III. Koko’s Lullaby IV. The Red Queen’s Gavotte

HAROLD SHAPERO Serenade in D for string orchestra (1945) I. Adagio—Allegro II. Menuetto (scherzando): Allegretto III. Larghetto, poco adagio IV. Intermezzo: Andantino con moto V. Finale: Allegro assai, poco presto

INTERMISSION

ARTHUR BERGER Prelude, Aria, and Waltz for string orchestra (1945, rev. 1982) I. Prelude II. Aria III. Waltz

IRVING FINE Symphony (1962) I. Intrada: Andante quasi allegretto II. Capriccio: Allegro con spirito III. Ode: Grave

GIL ROSE, Conductor

Presented in collaboration with the Fine Family, The Irving Fine Society, and Brandeis University. PROGRAM NOTES 5 by Nicholas Alexander Brown

This evening’s concert commemorates the Irving Fine centennial

TINA TALLON TINA with works by Fine and two of his most revered friends and colleagues, and . These three composers, along with and , are known collectively as the School or Boston Group. Influenced greatly by Aaron TONIGHT’S PERFORMERS Copland, , , and (with whom several of them studied), these composers carved a place at the forefront of American music. Fine, Shapero, and Berger all spent time as students at at Harvard before making FLUTE TROMBONE VIOLIN II Brandeis University their musical home. In the early years of Brandeis University, which Sarah Brady Hans Bohn Colleen Brannen Rachel Braude (piccolo) Martin Wittenberg Piotr Buczek was founded in 1948, Fine was charged with developing a vibrant music program from Jessica Lizak Annegret Klaua scratch. He quickly brought Harold Shapero and Arthur Berger on board to help him BASS TROMBONE Sasha Callahan build the university’s music curriculum and establish the renowned graduate program in OBOE Christopher Beaudry Beth Abbate composition. With the leadership of Fine, Shapero, and Berger, the Brandeis University Jennifer Slowik Yumi Okada Laura Pardee Schaefer TUBA Department of Music rapidly became known as a leading training ground for composers Takatsugu Hagiwara Deborah Boykan (English horn) Kay Rooney Matthews and musicologists. Fine brought Bernstein, Copland and countless other distinguished Laura Shamu PERCUSSION Anna Korsunsky artists to the faculty. He also founded the annual Brandeis Festival of the Creative Arts, Robert Schulz CLARINET Sue Faux inviting Bernstein to be the festival’s first director. Berger described Fine as “…a fabulous Michael Norsworthy Nicholas Tolle William Manley VIOLA organizer, an admirable composer, and an individual of absolutely angelic character and Amy Advocat Joan Ellersick Gary Gorczyca Jonathan Hess Aaron Trant David Feltner BASSOON Mark Berger Ronald Haroutunian PIANO Emily Rideout Adrian Morejon Linda Osborn Dimitar Petkov Emily Rome Margaret Phillips HARP Willine Thoe Franziska Huhn ALTO SAXOPHONE Kim Lehmann Philipp Stäudlin VIOLIN I Geoffrey Landman Heidi Braun-Hill CELLO David Russell Omar Guey TENOR SAXOPHONE Nicole Cariglia Amy Sims Sean Mix Jing Li Tudor Dornescu Katherine Kayaian HORN Shaw Pong Liu Holgen Gjoni Whitacre Hill Heather Braun Miriam Bolkosky Eli Epstein Oana Lacatus Alyssa Daly Sarita Uranovsky BASS Neil Godwin Ethan Wood Anthony D’Amico Colin Davis Scot Fitzsimmons TRUMPET Lilit Hartunian Reginald Lamb Terry Everson Sean Larkin Kate Foss Richard Watson Joseph Foley

Claudio Spies, Lukas Foss, Harold Shapero, Irving Fine, Leonard Bernstein, others. , 1946. Photo by Ruth Orkin, Irving Fine Collection, , Music Division. 6 temperament.” Following Fine’s death in 1962, Shapero and Berger spent several decades white Brandeis / A light that is brighter / than a diamond in the sky / We play the game” 7 advancing his vision for the arts at Brandeis. Distinguished figures who graduated from or “Sing a song for Brandeis / With music that’s strong / To cheer her on her long, long the Brandeis doctoral programs in music include ’81, Yu-Hui Chang ’01 (current way. / Let’s play the game.” There are two main thematic groups, though the first theme chair of the Brandeis Department of Music), ’85, ’55, is the foundation of three of the four “stanzas” (or sections) of the body of the song. The and Michael Marissen ’91. whole song is repeated and Fine offers a rousing closing flourish, which in the vocal While Fine, Shapero and Berger never achieved the fame and popularity of their friends version shouts “Brandeis: Blue White: Victory!” Bernstein and Foss, their compositions represent the height of the Stravinsky-Boulanger Recent performances of Blue Towers have been given by the Yale Medical Symphony influence on American composition in the mid-twentieth century. Their orchestral works Orchestra (April 25, 2014—New Haven, CT), featuring Fine’s daughter Emily on first horn are some of the finest examples of American contributions to the genre. Ranging in and his grandson Joseph Stein on trumpet, and the Richmond (Indiana) Symphony style from populism to fusion of the major stylistic threads of their time (neoclassicism (October 20, 2012—Richmond, Indiana). The most recent performance at Jordan Hall was and ), their music adds depth to a repertoire that is neglected by most major given on December 2, 1990 by the Boston Civic Symphony with Max Hobart conducting. orchestras and the mainstream concert-going public. Manuscripts for Fine’s entire orchestral oeuvre, including Blue Towers, are available for study at the Library of Congress, which holds the Irving Fine Collection.

IRVING FINE (1914–1962) Blue Towers (1959) In 1959 Irving Fine composed four works: Romanza for Wind Quintet; Arioso for piano (which was later incorporated into Diversions for Piano); One, Two, Buckle My Shoe for chamber ensemble, and The Blue and the White (Brandeis University Marching Song). The latter work, which eventually became Blue Towers in its orchestral version, was originally composed for voice or chorus and piano (both the solo vocal and choral versions are notated on the same holograph manuscript). It premiered at a fall 1959 banquet at Brandeis to commemorate the opening of a new athletic building and was dedicated “To Brandeis University and its President Abram Sachar.” Fine relied heavily on support from There’s no medium like opera to explore the President Sachar for growing the arts programs at Brandeis University. Sachar and Fine vagaries of love, and Odyssey Opera’s were two of the most important figures from the early years of Brandeis University, both responsible for shaping the small research university that has developed a major voice 2014 season offers four unique and in the academic community in just sixty-six years of existence. stylish approaches to operatic passion. Verdi’s Fine intended The Blue and the White to be the official university fight song, and the title is an homage to the school colors. The song unfortunately only existed in time Un giorno di regno for the waning year of the Brandeis University football program, which was cut in 1960 [JUNE 11 & 13] is a witty comedy of after nine years as a varsity sport. Fine arranged The Blue and the White for orchestra Artistic and during the winter of 1959–1960, changing the title to The Blue and the White March. The General Director: mismatched lovers and arranged marriage final version, which was published by Mills Music in 1961, adopted the current titleBlue Gil Rose evasion. Mascagni’s one-act vignette Towers for orchestra. Arthur Fiedler conducted the premiere of Blue Towers with the Boston Pops at Symphony Zanetto, a meditation on lost opportunity Hall on May 31, 1960. Fine’s orchestral score calls for an orchestra with full wind and brass and regret, shares a double bill with Wolf-Ferrari’s droll and sections, plus percussion and optional parts for saxophones and piano. Fine created a charming, short work that clamors with joy and optimism. It captures the unique, bustling quirky Il segreto di Susanna [JUNE 12 & 14]. An unsettling, tense psychological energy at the Brandeis campus during the spring months, when students and faculty are landscape of death and remembrance, Korngold’s [SEPTEMBER 13] preparing for the annual Festival of the Creative Arts. Die tote Stadt After a brief introductory section the trumpet proclaims the cheerful melody, so is a major operatic achievement never before heard in Boston. clearly taken from a vocal line. Fine wrote the text of the vocal versions, and multiple For more information and to purchase tickets, go to sets of text exist. The first statement of the melody corresponds with “Blue white, Blue www.odysseyopera.org. 8 IRVING FINE HAROLD SHAPERO (1920–2013) 9 Diversions for Orchestra (1959–1960) Serenade in D for string orchestra (1945) In 1959 and 1960 Fine orchestrated four of his unpublished piano works and grouped Serenade in D was composed during one of Shapero’s retreats to the MacDowell Colony, them under the title Diversions for Orchestra, dedicating them to daughters Claudia, Emily which both he and Fine frequented. He arranged the work for string quintet in 1998, and Joanna. The orchestral version was premiered by Harry Ellis Dickson and the Boston dedicating the score to Nadia Boulanger. Shapero, who studied with Boulanger from Pops during a children’s program at Symphony Hall on November 5, 1960. Fine’s original 1941–1942, described Serenade in D as being “greatly stimulated” by “memorable piano works were composed between 1942 and 1959, though they were not published as experiences” with his teacher. Boulanger enthralled Shapero with her playing of string a set during his lifetime. These appealing vignettes are a valuable programming addition at the piano. He remarked “She managed the most intricate to traditional orchestral concerts, Pops programs and young people’s concerts. Musically, passage-work in all details at the keyboard, and communicated the spirit of these works…” the Diversions shed light on the side of Fine that sought to compose music that would be The 1940s were Shapero’s most fruitful years as a composer. He broke onto the accessible and appealing to a broad audience, in contrast with his more sophisticated orchestral scene with Nine-Minute Overture (1940), which Copland premiered at Tanglewood neoclassical, neoromantic and dodecaphonic compositions. in 1941 with students of the Berkshire Music Center. His Symphony for Classical Orchestra Diversions for Orchestra offers a glimpse into Fine’s warm personality and musical was composed in 1947 and premiered by the Boston Symphony (Bernstein conducting) sense of humor. ’s biography (Irving Fine: An American Composer in His in 1948. He also composed several works for solo instruments and a string symphony, Time) highlights one of Bernstein’s most affectionate comments about Fine, which regards among others. He also won two Guggenheim Fellowships and a Fulbright in the late 1940s. Diversions: “In these four brief pieces we can behold a personality: tender without being Harold Shapero’s archive will be held at the Brandeis University’s Robert D. Farber coy, witty without being vulgar, appealing without being banal, and utterly sweet without University Archives and Special Collections Department. The Lydian String Quartet ever being cloying. Such a man (and such a work) is rare enough to cause rejoicing.” Fine (ensemble-in-residence at Brandeis University) and Edwin Barker (Principal Bassist, composed Little Toccata in 1958, in exchange for a painting from his friend, artist Ethel Boston Symphony Orchestra) recorded the string quintet version of Serenade for a 2003 Cott. It is a delightfully quixotic number that blends Stravinsky-like mixed meter patterns New World Records release entitled Harold Shapero — Chamber Music. with a rustic, country-dance flavor. Flamingo Polka and The Red Queen’s Gavotte originated as incidental music to a theatrical production of Alice in Wonderland in 1942. Imagine a scene in which flamingos ARTHUR BERGER (1912–2003) are being used as croquet mallets and you will capture the essence of Flamingo Polka. Fine Prelude, Aria, and Waltz (Three Pieces for String Orchestra) makes brilliant use of instrumental color and texture, from the woodwinds to the percussion, (1945/rev. 1982) to create an aural picture of one of the more incredible scenes in Alice in Wonderland. This Prelude, Aria, and Waltz was originally composed as Three Pieces for String Orchestra diversion would be particularly suited to scoring a cartoon or animated film. in 1945. It was revised in 1982 and premiered in 1985 with conducting According to Fine’s late wife, Verna, Koko’s Lullaby was inspired by the family poodle, at the American Academy of Arts and Sciences in Cambridge. The work is refreshingly Koko. Fine was particularly fond of Koko, whom Verna referred to as “over-sized, devoted, convivial and a gem among American works for string orchestra. Prelude is dedicated to sensitive, [and] sweet…” Originally appearing as Arioso for piano (1959), Koko’s Lullaby is Russian-American composer , a friend of Berger’s and the Boston Group. It the most sentimental of the Diversions, progressing in a slower Larghetto tempo and more opens with a short introduction of sustained notes in the violins, accented by short chords intricate harmonic language than the previous sections. The string writing is reminiscent in the lower strings. The violins introduce the lyrical principal theme, which contrasts of Fine’s earlier Serious Song: A Lament for String Orchestra. with a lilting rhythmic accompaniment that alternates between pizzicato and marcato In The Red Queen’s Gavotte Fine presents a regal dance that could easily be used in a articulations. Berger inserts short solo snippets that have a call-and-response effect coronation ceremony. He uses the gavotte dance form, which began as a French folk dance, when conjoined with tutti statements. to personify the Queen of Hearts (The Red Queen) from Alice in Wonderland. The selection Marked Poco Adagio, the Aria is divided into three sections. In the first part the first of this specific dance form, which would have been performed originally by peasants, might violins, at times doubled by the seconds, sing the cantabile e largando melody. The have been Fine’s way of commenting on social class differences and making a mockery middle of the Aria, marked “Holding back somewhat” features a luscious viola solo that of royalty. The subliminal use of satire to poke fun at the “Queen” is indicative of Fine’s passes off to a solo violin fragment. The viola and second violin restate the theme in the refined sense of humor, which never compromises the musicality of a work. closing section, while a light, triplet-based rhythmic figure in the first violins floats above. The Waltz is also set in rounded binary form. Berger gives the melody to the first violins and develops its rhythmic motives throughout the other voices. Cyclical motion is implied with the ‘two-three’ offbeat pattern characteristic of waltz rhythm. Berger modifies the theme in the mid-section of the waltz, accenting it with repeated eighth-note quintuplets and quadruplets. The original form of the theme returns in the first violin, with just second 10 violins and violas accompanying at first. Cellos and double basses rejoin the fray with Grave, and picks up considerable momentum as it passes through an agitated and 11 minimal accompanimental support. highly syncopated section in which the brass toss around a five-note motto related The Boston Modern Orchestra Project has performed Berger’s music on several to the opening theme of the symphony. Both motto and theme occupy the center of occasions. They have released two recordings of Berger’s music, Arthur Berger: Words the stage from this point to the end, first in a broad canonic climax for full orchestra for Music, Perhaps (2013) and Arthur Berger: The Complete Orchestral Music (2003). The in the original tempo, then through a quiet lyrical episode of more soloistic character, Arthur Berger Papers are housed at the New York Public Library for the Performing Arts past fragmentary reminiscences of the beginning, to the final epilogue. In this last and Brandeis University’s Robert D. Farber University Archives and Special Collections (a kind of solemn recessional beginning piano, marcato and concluding triple forte), Department. bell-like quasi-canonic statements of the principal theme are heard in the brass and upper strings against ostinatos in the piano, harp, timpani and low strings.

IRVING FINE The most recent performance of the Symphony took place on February 23, 2008 with Symphony (1962) the New England Philharmonic (Richard Pittman, conducting) at ’s Tsai Performance Center. Notable performances in recent decades have included Leon Botstein Symphony (1962) was commissioned by the Boston Symphony Orchestra, which premiered with the American Symphony Orchestra (1999) and Robert Spano with the Residentie the work under Charles Munch on March 23, 1962. It is scored for large orchestra with piano, Orkest of The Hague (1996). Two recordings of the Symphony exist: a live recording of celesta and harp. Fine conducted a performance at Tanglewood on August 12, 1962, just the composer conducting the work at Tanglewood with the Boston Symphony and Joel days before his death. described Fine’s Symphony as “…strongly dramatic, Spiegelman’s recording with the Moscow Radio Symphony Orchestra. Spiegelman, a almost operatic in gesture, with a restless and somewhat strained atmosphere that is champion of Fine’s music for over five decades, studied with Fine, Shapero, Berger and part of its essential quality.” In retrospect, the Symphony is clearly Fine’s magnum opus, Boulanger. He conducted the Russian premieres of Fine’s orchestral works and has synthesizing his neoclassical style with serialism to produce a work that deserves a place transcribed several of the chamber works for orchestra, including Music for Piano (1947). in the standard canon of twentieth-century American orchestral music. Fine’s own notes on the Symphony, part of which was printed in the Boston Symphony’s program booklet for the premiere, are the best guide to understanding the work: SOURCES/FURTHER READING The first movement, Intrada: Andante quasi allegretto, suggests a kind of choreographic Berger, Arthur. Reflections of an American Composer action in which characters enter, depart, and reappear altered in different groupings— Berkeley: University of Press, 2002 all of this serving as background for a lyrical and at times pastoral narrative. The Ramey, Philip. Irving Fine: An American Composer in His Time music begins quietly in the bassoons and low strings, and passes through a number Hillsdale, NY: Pendragon Press/Library of Congress, 2005 of episodes in which other instrumental groupings are featured. After reaching a strong but essentially lyrical climax for full orchestra, it subsides gradually into a Tobin, R. James. Neoclassical Music in America: Voices of Clarity and Restraint kind of night music for English horn, other solo woodwinds, harp, celesta, and muted (Modern Traditionalist Classical Music) strings. My visual and literary associations to this movement are with the early Italian New York: Rowman & Littlefield, 2014 Renaissance rather than with classical antiquity. Although the second movement, Capriccio: Allegro con spirito, occasionally has © Nicholas Alexander Brown 2014. Nicholas Alexander Brown is a music specialist / concert producer at the Library of Congress, the music director/founder of The Irving Fine Society, and overtones of the orchestral concerto, it is essentially an extended scherzo in which 4/4 conductor of the Library of Congress Chorale and Washington Sängerbund. Brown performs as meter predominates and in which the customary contrasting trio has been replaced by a chorister with the Tanglewood Festival Chorus and London Philharmonic Choir. He received a series of connecting episodes. The first of these is playful and soloistic in character; an M.Mus in Musicology from King’s College London as well as a B.A. in Music (Conducting the second, with its alternating and syncopated massed sonorities featuring the brass, Performance) and History from Brandeis University. is more sardonic and aggressive. In the last episode, beginning with solo bassoons, accompanied by percussion and low chords in the piano and strings, the meter shifts into a 6/8 burletta. Materials from the first part of this movement reappear either in varied form or in altered order in the brief final section and coda. The last movement, Ode: Grave, is essentially a dithyrambic fantasia with a concluding recessional-like epilogue. In the fantasia much of the material employed in the symphony recurs highly metamorphosed in fragmentary statements or outbursts, in brief dramatic canons, or in stating ruminating passages with florid figuration. The prevailing mood is darker than in the first two movements. The tempo begins Founded in 2006, THE IRVING FINE SOCIETY (IFS) represents the family of Irving Foundedand Verna in 2006, Fine. THE IFS IRVINGserves as aFINE producing SOCIETY organization (IFS) forrepresents concerts, the educational family of Irving programs and Vernaand scholarly Fine. IFS activities serves relatedas a producing to the legacy organization of composer for concerts, Irving Fine, educational and the programsglobal impact and scholarlyof American activities culture related in the to twentieththe legacy century.of composer Led byIrving music Fine, director and the Nicholas global impact Alexander of AmericanBrown, IFS culture has beenin the featured twentieth in concertscentury. Ledat Harvard by music University, director NicholasBrandeis University,Alexander the Brown,Goethe IFS -hasInstitut been Boston, featured as in well concerts as other at Harvard venues aroundUniversity, greater Brandeis-Boston. University, Recent projectsthe Goetheinclude-Institut tributes Boston, to Irving as well Fine, as Benjaminother venues Britten, around Aaron greater Copland,-Boston. 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The life, legacy and music of Irving Fine are being commemorated with a special The centenniallife, legacy year and ofmusic events of programmedIrving Fine are throughout being commemorated the with anda special Europe. centennialThe Irving year Fineof events Society, programmed in conjunction throughout with the the Fine United family, States is collaborating and Europe. with The leadingIrving Finearts Society,and academic in conjunction institutions with to the shed Fine light family, on Fine’sis collaborating role in American with leadingmusic. arts Recentand academic collaborators institutions have toincluded shed lightBoston on Fine’sModern role Orchestra in American Project, music.Orpheus Recent Chamber collaborators Orchestra, have Carnegieincluded Hall,Boston Brandeis Modern University, Orchestra the Project,New York OrpheusWoodwind Chamber Quintet Orchestra, and the Carnegie Contemporary Hall, Brandeis Music Center University, of Milan. the New York Woodwind Quintet and the Contemporary Music Center of Milan. IRVING FINE (1914-1962) // Born in East Boston, Irving Fine is considered one of IRVINGAmerica’s FINE greatest (1914 neoclassical-1962) // Borncomposers, in East though Boston, he Irving shifted Fine to romanticismis considered and one serialism of America’slater in greatest his career. neoclassical He trained composers, as a pianist though and hecompleted shifted to studies romanticism at Harvard and serialismCollege with later in his career. He trained as a pianist and completed studies at Harvard College with May 16, 2014 // 8:00pm // Jordan Hall, Boston, MA and Edward Burlingame Hill, as well as Nadia Boulanger. He studied con- Walter Piston and Edward Burlingame Hill, as well as Nadia Boulanger. He studied con- MayBoston 16, 2014 Modern // 8:00pm Orchestra // Jordan Project Hall, “A Boston, Fine Centennial” MA ducting with Serge Koussevitzky, who became a close friend and mentor. In the mid- ducting with Serge Koussevitzky, who became a close friend and mentor. In the mid- BostonFine Modern Blue Towers Orchestra, Diversions Project for Orchestra “A Fine and Centennial” Symphony (1962) twentieth century Fine was a key member of a group of composers known as the “Boston Fine Blue Towers, Diversions for Orchestra and Symphony (1962) twentiethSix”— centuryalong withFine wasArthur a key Berger, member Leonard of a group Bernstein, of composers Aaron Copland,known as Lukasthe “Boston Foss and June 30, 2014 // All Day // Tanglewood, Lenox, MA Six”—Haroldalong Shapero.with Arthur His compositionsBerger, Leonard include Bernstein, Partita forAaron Wind Copland,Quintet (1948), Lukas two Foss sets andof Alice June 30, 2014 // All Day // Tanglewood, Lenox, MA Tanglewood Music Center String Quartet Marathon Haroldin Wonderland Shapero. Hischoruses compositions (1942/1953), include String Partita Quartet for Wind (1952) Quintet and (1948), Symphony two sets(1962) of, Alicecommis- TanglewoodQuartets Music by Beethoven, Center String Fine, Quartet Haydn, Marathonand others in Wonderlandsioned by choruses the Boston (1942/1953), Symphony String Orchestra Quartet and (1952) premiered and Symphony under the (1962) baton, commis- of Charles Quartets by Beethoven, Fine, Haydn, and others sioned by the Boston Symphony Orchestra and premiered under the baton of Charles November 14-16, 2014 // All Day // Brandeis University, Waltham, MA Munch. Though Fine’s output as a composer was limited, due to his passing at the young November 14-16, 2014 //A All Fine Day Centennial // Brandeis Weekend University, Waltham, MA Munch.age Thoughof 47 and Fine’s his commitment output as a composerto building was the limited,arts programs due to athis Brandeis passing atUniversity, the young many A FineCelebrating Centennial Irving Weekend Fine’s legacy age ofof 47his and compositions his commitment have tobecome building standard the arts repertory programs works at Brandeis representing University, the manyAmerican with MusicCelebrating from Copland Irving House, Fine’s alegacy symposium, and more of hisneoclassical compositions school. have become standard repertory works representing the American with Music from Coplandbrandeis.edu/arts/concerts House, a symposium, and more neoclassical school. brandeis.edu/arts/concerts Fine began his career as a music educator at Harvard, where he taught theory and December 2-6, 2014 // Library of Congress, Washington, DC Fine compositionbegan his careerclasses, as and a musicdirected educator the Glee at Club. Harvard, He alsowhere taught he compositiontaught theory at andTangle- DecemberLibrar 2-6,y 20 of14 Congress // Library Irvi ofng Congress Fine Centennial, Washington, Festival DC compositionwood for classes, nine years. and directedFine left theHarvard Glee Club.in 1950 He to also create taught the compositionnew School ofat theTangle- Creative Library ofChiara Congress Quartet Irvi withng SimoneFine Centennial Dinnerstein, Festival piano woodArts for atnine Brandeis years. University.Fine left Harvard He became in 1950 the tofather create of thethe newgreat School arts tradition of the Creativeat Brandeis, Chiara QuartetNew commission with Simone by Dinnerstein,Jefferson Friedman piano Arts whereat Brandeis he was University. a model administrator He became theand fatherdevoted of educator.the great Finearts traditionmade Brandeis at Brandeis, a hub for New commission by Jefferson Friedman wherecreativity he was ata modela pivotal administrator juncture in andAmerican devoted history educator. by bringing Fine made major Brandeis artists toa hub the forfaculty, December 5-7, 2014 // Seattle, WA creativityincluding at a Leonardpivotal juncture Bernstein in andAmerican Aaron history Copland. by Hebringing founded major the artistsuniversity’s to the annual faculty, Festi- DecemberThe Esoterics, 5-7, 2014 Eric // Banks,Seattle, conductorWA includingval of Leonard the Creative Bernstein Arts, and which Aaron first Copland. attracted He international founded the attention university’s to theannual then Festi--fledgling The Esoterics,Featuring Eric Fine’s Banks, entire choral conductor oeuvre val ofinstitution. the Creative It was Arts, under which Fine’s first auspicesattracted at international the first festival attention in 1952 to thethat then Marc-fledgling Blitzstein’s Featuring Fine’s entire choral oeuvre institution.translated It wasadaptation under Fine’s of Weill’s auspices The atThreepenny the first Operafestival and in Bernstein’s1952 that MarcTrouble Blitzstein’s in Tahiti were translatedpremiered. adaptation of Weill’s The Threepenny Opera and (Images Bernstein’s from of the Irving Trouble Fine Collection, in Tahiti Library were of Congress) premiered. 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[1001] [1008] SACD JOHN HARBISON ULYSSES DEREK BERMEL VOICES COMPLETE BALLET DUST DANCES | THRACIAN ECHOES | ELIXIR Best of 2008 TIME OUT NEW YORK Derek Bermel clarinet 2010 Grammy Award Nominee [1002] MICHAEL GANDOLFI Y2K COMPLIANT [1009] POINTS OF DEPARTURE | WINGED CONTRAPTION THEMES FROM A MIDSUMMER NIGHT PERSISTENT MEMORY | PIANO CONCERTO Best of 2008 THE NEW YORK TIMES Marilyn Nonken piano and toy piano “Expertly played and vividly recorded disc.” AMERICAN RECORD GUIDE [1003] [1010] LEE HYLA LIVES OF THE SAINTS JOHN HARBISON FULL MOON IN MARCH AT SUMA BEACH Mary Nessinger mezzo-soprano MIRABAI SONGS | EXEQUIEN FOR CALVIN SIMMONS Lorraine DiSimone Best of 2008 THE BOSTON GLOBE mezzo-soprano Anne Harley soprano [1004] Frank Kelley tenor JOURNEY INTO JAZZ James Maddalena baritone VARIANTS | CONCERTINO Janna Baty mezzo-soprano Gunther Schuller narrator “Produced and managed with great expertise and brilliancy.” CLASSICAL VOICE OF NEW ENGLAND Best of 2008 DOWNBEAT MAGAZINE, NATIONAL PUBLIC RADIO, AMERICAN RECORD GUIDE [1011] [1005] LA PASSIONE WILDE BELLS FOR HAARLEM | LETTER FROM CATHY HIGH BRIDGE PRELUDE PASSEGGIATA IN TRAM IN AMERICA E RITORNO Sanford Sylvan baritone Cristina Zavalloni mezzo-soprano Monica Germino violin 2009 Grammy Award Nominee “Exacting and engaged performances.” THE BOSTON GLOBE [1006] 2-DISC [1012] SACD ERIC SAWYER OUR AMERICAN COUSIN LIBRETTO BY JOHN SHOPTAW JOHN CAGE SIXTEEN DANCES “BMOP and Gil Rose gave performances that were skilled, exacting, and “One of the freshest, most ambitious new American operas.” FANFARE humane.” THE BOSTON GLOBE

[1007] SACD [1013] LUKAS FOSS THE PRAIRIE ELLIOTT SCHWARTZ POEM BY CARL SANDBURG CHAMBER CONCERTOS I-VI Providence Singers “[The] most impressive feature is the spiky coloring…Schwartz gets Boston Modern Orchestra Project through the skillful deployment of a small group of players.” Andrew Clark conductor THE BOSTON GLOBE “A beautiful work, excellently performed here.” AMERICAN RECORD GUIDE Available from BMOP/sound

[1014] [1020] KEN UENO TALUS ALAN HOVHANESS EXILE SYMPHONY ON A SUFFICIENT CONDITION FOR THE EXISTENCE OF MOST ARMENIAN RHAPSODIES 1-3 | SONG OF THE SEA SPECIFIC HYPOTHESIS | KAZE-NO-OKA CONCERTO FOR SOPRANO SAXOPHONE AND STRINGS Wendy Richman viola Yukio Tanaka biwa Kenneth Radnofsky soprano saxophone Kifu Mitsuhashi shakuhachi Ken Ueno overtone singer John McDonald piano “An engaging collection.” SEQUENZA 21 “Complex, deliberate, ultimately captivating grandeur.” THE BOSTON GLOBE [1015] SACD DOMINICK ARGENTO JONAH AND THE WHALE [1021] Thomas Oakes narrator Providence Singers ERIC MOE KICK & RIDE Daniel Norman tenor Boston Modern Orchestra EIGHT POINT TURN | SUPERHERO Daniel Cole bass Project Robert Schulz drumset Andrew Clark conductor “Percussionist Robert Schulz drove the piece forward with muscular “A coup for the Boston ensemble, whose players are vivid and rhythms.” THE BOSTON GLOBE subtle.” GRAMOPHONE [1022] SACD [1016] ANTHONY PAUL DE RITIS DEVOLUTION WILLIAM THOMAS McKINLEY R.A.P. LEGERDEMAIN | CHORDS OF DUST MARIMBA CONCERTO “CHILDHOOD MEMORIES” Paul D. Miller / DJ Spooky That Subliminal Kid turntables 13 DANCES FOR ORCHESTRA “Flashy in its mash-up of styles.” THE BOSTON GLOBE Richard Stoltzman clarinet Nancy Zeltsman marimba “A hugely entertaining romp.” FANFARE [1023] 2-DISC

[1017] 2-DISC (ONE DISC SACD) JOHN HARBISON WINTER’S TALE David Kravitz baritone Dana Whiteside bass LISA BIELAWA IN MEDIAS RES Janna Baty mezzo-soprano Christian Figueroa tenor UNFINISH’D, SENT | ROAM Anne Harley soprano Paul Guttry bass DOUBLE | SYNOPSES #1-15 Matthew Anderson tenor Aaron Engebreth baritone Carla Kihlstedt violin and voice Lisa Bielawa soprano Pamela Dellal mezzo-soprano Jeramie Hammond bass Colin Jacobsen violin “Gil Rose conducted with conviction and precision.” THE BOSTON GLOBE “Beautifully recorded and packaged.” NEW MUSIC BOX [1024] SACD [1018] PAUL MORAVEC NORTHERN LIGHTS ELECTRIC THREE PICTURES CLARINET CONCERTO | SEMPRE DIRITTO! | MONTSERRAT: A SOLEMN MUSIC | A JOYFUL FUGUE CONCERTO FOR CELLO AND ORCHESTRA THE FEAST OF LOVE | COLLECTED POEMS David Krakauer clarinet Matt Haimovitz cello FIVE SONGS FROM WILLIAM BLAKE Thomas Meglioranza baritone Kristen Watson soprano [1025] 2-DISC “Played with devotion.” AUDIOPHILE AUDITION THOMAS OBOE LEE SIX CONCERTOS FLAUTA CARIOCA | ... BISBIGLIANDO ... | VIOLIN CONCERTO [1019] | MOZARTIANA | PERSEPHONE AND THE FOUR SEASONS | DREAMHOUSE EURYDICE Rinde Eckert The Architect Sarah Brady flute Rafael Popper-Keizer cello Catch Electric Guitar Quartet Robert Levin piano Jennifer Slowik oboe Synergy Vocals Irina Muresanu violin Ina Zdorovetchi harp 2011 Grammy Award nominee Available from BMOP/sound

[1026] [1032] REZA VALI TOWARD THAT ENDLESS PLAIN MATHEW ROSENBLUM MÖBIUS LOOP FOLK SONGS, SET NO. 8 | FOLK SONGS, SET NO. 14 SHARPSHOOTER | DOUBLE CONCERTO FOR BARITONE SAX AND Janna Baty mezzo-soprano Khosrow Soltani Persian ney PERCUSSION | MÖBIUS LOOP (QUARTET VERSION AND VERSION “The piece is resourcefully made and compelling FOR QUARTET AND ORCHESTRA) in effect” THE BOSTON GLOBE Kenneth Coon baritone saxophone Best of 2013 NATIONAL PUBLIC RADIO Lisa Pegher percussion Raschèr Saxophone Quartet [1027] “...an ear-buzzing flood of sound, rich in unusual overtones.” ORCHESTRAL WORKS THE BOSTON GLOBE CONCERTO FOR VIOLIN AND ORCHESTRA | Best of 2013 NEWMUSICBOX SYMPHONY FOR ORCHESTRA Curtis Macomber violin Sanford Sylvan baritone [1033] SACD “... an engrossing, evolving thicket of vaulting lines” THE BOSTON GLOBE GEORGE ANTHEIL BALLET MÉCANIQUE “... displayed the utmost compositional craft and maturity” THE BOSTON (ORIG. VERSION, 1924) MUSICAL INTELLIGENCER A JAZZ SYMPHONY [1028] SACD “...digital technology as midwife to outrageous analog dreams.” THE BOSTON GLOBE MICHAEL GANDOLFI FROM THE INSTITUTES OF GROOVE [1034] FANTASIA FOR ALTO SAXOPHONE AND ORCHESTRA | ALL SET CONCERTO FOR BASSOON AND ORCHESTRA COMPOSITION FOR TWELVE INSTRUMENTS | Kenneth Radnofsky alto saxophone CORRESPONDENCES | PARAPHRASES | THE CROWDED AIR | Angel Subero bass trombone FROM THE PSALTER Richard Svoboda bassoon Lucy Shelton soprano “It’s an ingenious musical study in rhythmic patterns.” THE BOSTON GLOBE “...a charm bracelet of concentrated fragments.” THE BOSTON GLOBE Best of 2013 THE BOSTON GLOBE [1035] [1029] LEWIS SPRATLAN APOLLO AND DAPHNE VARIATIONS JACOB DRUCKMAN LAMIA A SUMMER’S DAY | CONCERTO FOR SAXOPHONE AND ORCHESTRA THAT QUICKENING PULSE | DELIZIE CONTENTE CHE L’ALME Eliot Gattegno soprano and tenor saxophones BEATE | NOR SPELL NOR CHARM | SUITE FROM MÉDEÉ “...rich textures and unexpected narrative turns” BOSTON PHOENIX Lucy Shelton soprano “...the magnificent Lucy Shelton...is at her pristine best in Lamia’s most [1036] harrowing moments.” THE ARTS FUSE Best of 2013 SEQUENZA 21 ANTHONY DAVIS NOTES FROM THE UNDERGROUND WAYANG V | YOU HAVE THE RIGHT TO REMAIN SILENT [1030] Anthony Davis piano J.D. Parran clarinet and contra-alto ANDY VORES GOBACK GOBACK Earl Howard Kurzweil clarinet FABRICATION 11: CAST | FABRICATION 13: MONSTER David Kravitz baritone

[1031] ARTHUR BERGER WORDS FOR MUSIC, PERHAPS CHAMBER MUSIC FOR THIRTEEN PLAYERS | SEPTET | DIPTYCH: COLLAGES I AND II | COLLAGE III Krista River mezzo-soprano Upcoming from BMOP/sound

[1037] SACD GIL ROSE, ARTISTIC DIRECTOR 25 LOU HARRISON LA KORO SUTRO Gil Rose is a conductor helping to shape the future of classical SUITE FOR VIOLIN WITH AMERICAN GAMELAN music. His dynamic performances and many recordings have Providence Singers Gabriela Diaz violin LINDER LIZ garnered international critical praise. “...a dense sonic halo, as if created by some vast cosmic vibraphone.” In 1996, Mr. Rose founded the Boston Modern Orchestra THE BOSTON GLOBE Project (BMOP), the foremost professional orchestra dedicated exclusively to performing and recording symphonic music of [1038] the twentieth and twenty-first centuries. Under his leadership, SCOTT WHEELER CRAZY WEATHER BMOP’s unique programming and high performance standards CITY OF SHADOWS | NORTHERN LIGHTS have attracted critical acclaim and earned the orchestra fourteen “...slightly noirish atmosphere[...] terrific and inventive” THE BOSTON GLOBE ASCAP awards for adventurous programming as well as the John S. Edwards Award for Strongest Commitment to New American Music. [1039] Mr. Rose maintains a busy schedule as a guest conductor on both the opera and ELENA RUEHR SKY ABOVE CLOUDS ­symphonic platforms. He made his Tanglewood debut in 2002 and in 2003 he debuted with LADDER TO THE MOON | SUMMER DAYS | CLOUD ATLAS | the Netherlands Radio Symphony at the Holland Festival. He has led the American Composers SHIMMER | VOCALISSIMUS Orchestra, Warsaw Philharmonic, National Symphony Orchestra of the Ukraine, Cleveland Jennifer Kloetzel cello Chamber Symphony, Orchestra della Svizzera Italiana, and National Orchestra of Porto. “Broad orchestral shades, sweeping string writing, and arching Over the past decade, Mr. Rose has also built a reputation as one of the country’s motives” BOSTON CLASSICAL REVIEW most inventive and versatile opera conductors. He recently announced the formation of Odyssey Opera, an inventive company dedicated to presenting eclectic operatic repertoire in a variety of formats. The company debuted in September to critical acclaim with a concert production of Wagner’s Rienzi. Prior to Odyssey Opera, he led Opera Boston as its Music Director starting in 2003, and in 2010 was appointed the company’s first Artistic Director. Mr. Rose led Opera Boston in several American and New England premieres including: Shostakovich’s The Nose, Weber’s Der Freischütz, and Hindemith’s Cardillac. In 2009, Mr. Rose led the world premiere of Zhou Long’s Madame White Snake, which won the in 2011. Mr. Rose also served as the artistic director of Opera Unlimited, a contemporary opera festival associated with Opera Boston. With Opera Unlimited, he led the world premiere of Elena Ruehr’s Toussaint Before the Spirits, the New England premiere of Thomas Ades’s Powder Her Face, as well as the revival of John Harbison’s Full Moon in March, and the North American premiere of Peter Eötvös’s Angels in America. Mr. Rose and BMOP recently partnered with the American Repertory Theater, Chicago Opera Theater, and the MIT Media Lab to create the world premiere of composer Tod Machover’s Death and the Powers (a runner-up for the 2012 Pulitzer Prize in Music). He conducted this seminal multimedia work at its world premiere at the Opera Garnier in Monte Carlo, Monaco, in September 2010, and also led its United States premiere in Boston and a subsequent performance at Chicago Opera Theater. Next fall, he will lead its South American premiere in Rio de Janeiro, Brazil. An active recording artist, Gil Rose serves as the executive producer of the BMOP/sound recording label. His extensive discography includes world premiere recordings of music by John Cage, Lukas Foss, Charles Fussell, Michael Gandolfi, Tod Machover, Steven Mackey, Evan Ziporyn, and many others on such labels as Albany, Arsis, Chandos, ECM , Naxos, New World, and BMOP/sound. 26 In 2012 he was appointed Artistic Director of the Monadnock Music Festival in Give to BMOP and BMOP/sound historic Peterborough, NH, and led this longstanding summer festival through its 47th and 48th seasons conducting several premieres and making his opera stage directing debut in two revivals of operas by Dominick Argento. Ticket revenue accounts for a fraction of the expense of BMOP As an educator Mr. Rose served five years as director of Orchestral Activities at Tufts University and in 2012 he joined the faculty of as Artist- concerts, BMOP/sound CDs, and outreach programs. The sum of in-Residence and returned to his alma mater Carnegie Mellon University to lead the Opera Studio in a revival of Copland’s The Tender Land. In 2007, Mr. Rose was awarded many gifts of all sizes insures BMOP’s future. With your support, ’s prestigious Ditson Award as well as an ASCAP Concert Music Award for his exemplary commitment to new American music. He is a three-time we will advocate for composers of all ages, bring together Grammy Award nominee. audiences, young and old, distribute BMOP/sound recordings to

international locations, and know that today’s landmark orchestral

works will remain a part of our collective memory.

BENEFITS OF GIVING INCLUDE

■ Complimentary BMOP/sound CDs

■ Recognition in BMOP programs and publications

■ Invitation to selected BMOP rehearsals

■ Invitations to receptions with composers and guest artists

With a gift of $1,000 or more, you become a member of the Conductor’s Circle and receive customized benefits tailored to your interests, including sponsoring artists, commissioning new works, and funding recording projects.

You may contribute in the following ways:

call 781.324.0396 to speak to a BMOP staff member visit www.bmop.org to give through BMOP’s secure PayPal account mail your donation to BMOP, 376 Washington Street, Malden, MA 02148 or: give your contribution to a BMOP staff member tonight!

For more information, please contact Sissie Siu Cohen, General Manager, at 781.324.0396 or [email protected]. 28 BENEFACTORS Peter Parker and Susan Clare 29 DONORS ($10,000 and above) Larry Phillips Anonymous David Rakowski and Beth Wiemann We gratefully acknowledge the following individuals, corporations, and foundations whose generous support has made our concerts and recordings James Barnett and Carolyn Haynes Martha Richmond possible. (Gifts acknowledged below were received between October 1, 2012, Elizabeth Boveroux Charles and Theresa Stone and September 30, 2013) Gregory E. Bulger Peter Wender Randolph Fuller June Kar Ming Wu FOUNDATIONS, CORPORATIONS, AND INSTITUTIONS Timothy Gillette Anonymous Winifred Gray PARTNERING MEMBERS Aaron Copland Fund for Music Charles Price ($500–$999) The Alice M. Ditson Fund at Columbia University Gilbert Rose Nathalie Apchin The American Society of Composers, Authors and Publishers David W. Scudder Barbara Apstein The Amphion Foundation Campbell Steward M. Kathryn Bertelli AMT Public Relations Marillyn Zacharis Bob Farrell and Kelly Powell The Andrew W. Mellon Foundation John and Ruth Fitzsimmons Ann and Gordon Getty Foundation GUARANTORS John Harbison BMI Foundation ($5,000–$9,999) Eva R. Karger Bradford & Dorothea Endicott Foundation H. Burstyn and Deborah S. Cooper Steven Mackey Catherine and Paul Buttenwieser Foundation Sam and Alicia Mawn-Mahlau Louise McGinnes Jebediah Foundation Stuart Nelson Therry Neilsen-Steinhardt Massachusetts Cultural Council Patty Wylde Roderick Nordell MFS Investment Management Matching Gifts Program Mary Roetzel National Endowment for the Arts LEADERS Catherine Stephan New Music USA ($2,500–$4,999) NSTAR Foundation Noha Abi-Hanna SPONSORING MEMBERS Olive Bridge Fund Robert Amory ($250–$499) The Perkin Fund George and Lill Hallberg Toby Axelrod RWL Architecture & Planning John Loder Henry Bass Saltmarsh Insurance Agency Joann and Gilbert Rose Charles Blyth G. Schirmer Inc. Davin Wedel Roberto Cremonini University of Pittsburgh Beth Denisch USA Project PATRONS Anthony De Ritis Virgil Thomson Foundation ($1,000–$2,499) Jill A. Fopiano The Wise Family Charitable Foundation John Berg Lewis Girdler Stephanie Boyé Derek Hurst David Brown Robert Kirzinger Sean T. Buffington David A. Klaus Carole Charnow and Clive Grainger Lorraine Lyman Harriett Eckstein John McDonald Michael Gandolfi Bernard and Sue Pucker Thomas M. Hout Julie Rohwein Walter Howell Eric Sawyer 30 SUPPORTING MEMBERS FRIENDS 31 ($100–$249) ($99 and below) BMOP BOARDS AND STAFF John Archer Guillaiume Adelmant Larry Banks John Carey BOARD OF TRUSTEES Hans Bohn Richard and Ruth Colwell Paul Buddenhagan Jeffrey Duryea James Barnett Director of Development, Genesys Halsey Burgund Joan Ellersick John C. Berg Professor, Suffolk University George Burleson Paula Folkman Elizabeth S. Boveroux, VP, Eaton Vance Management — Retired Mary Chamberlain John F. Gribos Treasurer Eric Chasalow and Barbara Cassidy Arthur Hulnick Stephanie Boyé Director of Alumni Relations & Special Projects, Bruce Creditor Selene Hunter School of the Museum of Fine Arts Gail Davidson Paul Lehrman and Sharon Kennedy David Lloyd Brown Ridgely Duvall and Katherine Lum Marietta Marchitelli H. Paris Burstyn Senior Analyst, Ovum Geoffrey Gibbs Daniel Marshall Harriett Eckstein Barrie Gleason Steve Muller Timothy Gillette, Secretary Richard Greene Stephanie Muto George R. Hallberg Principal, The Cadmus Group Ronald Haroutunian Bruce Scott and Marcia Duncan Walter Howell Attorney, McCarter & English, LLP Scott Henderson Diane Sokal Rayford Law Principal, Rayford W Law Architecture & Planning Ernest Klein Charles Warren Rita and John Kubert Beverly Woodward Sam Mawn-Mahlau Attorney, Davis, Malm, & D’Agostine, PC Brian Leahy Larry Phillips, Chair Emeritus President, Ellis L. Phillips Foundation Arthur Mattuck IN KIND Martha Richmond Professor, Suffolk University Les Miller Clive Grainger Gil Rose, President Artistic Director, BMOP Elizabeth Murray John Kramer Harold Pratt New England Conservatory ADVISORY BOARD Victor Rosenbaum Mario Davidovsky Composer Larry Rosenberg Mark DeVoto Composer and Theorist, Tufts University Robert Sillars and Mildred Worthington Alan Fletcher President and CEO, Aspen Music Festival Ann Teixerira Charles Fussell Composer Paul Tomkavage John Harbison Composer, MIT Richard Winslow John Heiss Composer and Flutist, New England Conservatory Joseph Horowitz Cultural Historian, Author John Kramer Artist/Designer, John Kramer Design Steven Ledbetter Musicologist Tod Machover Composer and Director, Experimental Media Facility, MIT Martin Ostrow Producer/Director, Fine Cut Productions Vivian Perlis Historian, Composer, Kay Kaufman Shelemay Ethnomusicologist, Harvard University Lucy Shelton Soprano 32 THE SCORE BOARD The Score Board is a group of New England-based composers serving as BMOP’s vanguard of composer-advocates through volunteerism, direct support and activities, community- building, and curating BMOP’s annual Club Concert series.

Kati Agócs Curtis Hughes Elliott Schwartz Lisa Bielawa Derek Hurst Vineet Shende Martin Brody Robert Kirzinger Lewis Spratlan Lou Bunk Arthur Levering Francine Trester Halsey Burgund Keeril Makan Hans Tutschku Yu-Hui Chang John McDonald Ken Ueno Richard Cornell John Morrison Andy Vores Beth Denisch David Rakowski Dalit Warshaw Anthony De Ritis Brian Robison Julia Werntz Marti Epstein Julie Rohwein Scott Wheeler Eric Sawyer

STAFF Gil Rose Artistic Director Sissie Siu Cohen General Manager Zoe Kemmerling Publications and Marketing Associate Ryland Bennett Production Assistant Jenn Simons Box Office Associate April Thibeault Publicist Matthew Kim Intern JOHN KRAMER DESIGN