Thursday Evening, December 14, 2017, at 7:30

JoAnn Falletta , Conductor Performance #75: Season 3, Concert 12

JOHN ADAMS ( b. 1947 ) Short Ride in a Fast Machine (1986)

KRZYSZTOF PENDERECKI (b. 1933) Concerto doppio (2012) DENNIS KIM, Violin ROMAN MEKINULOV, Cello

Intermission

GUSTAV HOLST (1874–1934) The Planets (1914–16) Mars, the Bringer of War Venus, the Bringer of Peace Mercury, the Winged Messenger Jupiter, the Bringer of Jollity Saturn, the Bringer of Old Age Uranus, the Magician Neptune, the Mystic BARD FESTIVAL CHORALE

This evening’s concert will run approximately one hour and 55 minutes including one 20-minute intermission.

Alice Tully Hall Please make certain your cellular phone, pager, or watch alarm is switched off. Lincoln Center

Notes on the Music other pairs of string soloists. The same flexible approach was often employed by J.S. Bach and others in the Baroque Age. Short Ride in a Fast Machine The composer writes: “I have spent decades JOHN ADAMS searching for and discovering new sounds. At the same time, I have closely studied I was asked to write a piece to celebrate the the forms, styles and harmonies of past opening of a music festival in Massachusetts eras. I have continued to adhere to both by my friend Michael Tilson Thomas, and principles.” While the distinction may be since I had recently taken a ride in a very subtle, the role of the orchestra is that of fancy Italian sport car driven by a friend of an extended canvas, set as a tonal back - mine, I had not yet recovered from that ground rather than a traditional accompani - rather terrifying experience, and it was ment. The narratives for the soloists offer a somewhat still on my brain when I began rhapsodic dialog, very much like a gallery to think about what kind of fanfare I would tour of tone-painted events. Beginning with write. So Short Ride in a Fast Machine is lingering high harmonics in the cello, the somewhat of an evocation of that experi - violin replies with delicate pizzicatos. As the ence, which was both thrilling and also a duo blends into a poignant chant, it trans - kind of white-knuckle, anxious experience. forms into an urgent plea, accented by the The piece starts with the knocking of a entrance of the orchestra. Serving to escort wood block, which creates a kind of rhyth - the development through a series of cryp - mic gauntlet through which the orchestra tic variations, the orchestra leads or follows has to pass. We hear typical fanfare figures the diverse facets offered by the soloists, in the brass, but in a kind of rat-a-tat, tattoo with many changes in tempo and style. staccato form, which really typifies most of —Ed Yadzinski the activity of this very fast and very lively orchestral fanfare. Part of the fun of Short Ride in a Fast Machine is making these - large instruments—the tuba, the double TON’s Federico basses, the contrabassoon, and the entire Ramos on Holst’s brass section—move; they have to boogie The Planets R E through this very resolute and inflexible D A M pulse that’s set up by the wood block. And N The Planets is an astro - U A

it’s only at the very end of the piece, where H logical piece, written S the wood block finally stops, that the when Holst was super orchestra suddenly feels free, as if it’s the interested in astrology. Actually, the piece third stage of a rocket that’s finally broken was born after he was introduced to astrol - loose of Earth’s gravity and is allowed to ogy while on a trip in Majorca, Spain. He float. And it’s at that moment that we hear put together seven movements, each one the triumphant, real fanfare music in the with the name of a planet. Of course Pluto trumpets and horns. wasn’t included because Pluto was discov - —John Adams ered only a few years before Holst passed away. It’s really amazing to me the way he Concerto doppio wrote music. I really like the melody and KRZYSZTOF PENDERECKI orchestration of this piece and the way he created musical images of each planet. I Originally written for violin and viola, this discovered something quite interesting concerto was also intended to feature about Holst: while everyone knows he Lincoln Center

played the piano, he was also a profes - Because of this, when you see the trom - sional trombone player and he actually bone parts for The Planets , you can tell played under the baton of Richard Strauss. that he knew what he was doing.

Meet the Artists music advisor to the Hawaii Symphony and has held the positions of principal conductor of the , principal guest conductor of the Phoenix Symphony, music director of the Long Beach Symphony S

A Orchestra, associate conductor of the L L E

D Milwaukee Symphony Orchestra, and music

K Jo Ann Falletta , R

A director of the Denver Chamber Orchestra.

M Conductor

JoAnn Falletta is internationally celebrated Ms. Falletta received her undergraduate as a vibrant ambassador for music, an degree from the Mannes School of Music, inspiring artistic leader, and a champion of and her master’s and doctorate degrees American symphonic music. She serves as from The . the music director of the Buffalo Philharmonic Orchestra and the Virginia Symphony Orchestra, and is principal guest conductor of the Brevard Music Center. E E L

G

Ms. Falletta has guest conducted more N U O

than 100 orchestras in North America, and Y A

N Dennis Kim , Violin many of the most prominent orchestras in Europe, Asia, South America, and Africa. Appearances: Served as concertmaster of Her 2017–18 international guest conducting the Tucson Symphony Orchestra, Hong Kong appearances include performances with the Philharmonic Orchestra, Seoul Philharmonic Mexico Symphony Philharmonic, the RTÉ Orchestra, and Tampere Philharmonic Or - Concert Orchestra (Dublin), and the New chestra in Finland; as guest concertmaster Japan Philharmonic, among others, as well as with the BBC, Montpelier, West Australian, recordings with the Berlin Radio Symphony and Navarra symphony orchestras; the Orchestra and the London Symphony. London, Royal Stockholm, Helsinki, and Malaysian philharmonic orchestras; the Ms. Falletta has served as a member of Orchestre National de Lille; the Bergen the National Council on the Arts, was Philharmonic Orchestra, ten-city tour of recently elected as a member of the the U.K.; and the Qatar Philharmonic esteemed American Academy of Arts and Orchestra, BBC Proms debut, 2014 Sciences, and is the recipient of many of the most prestigious conducting awards. A Performances: Solo debut at age 14 with leading recording artist for Naxos, her the Toronto Philharmonic Orchestra; discs have won two Grammy Awards and soloist with every major orchestra in China ten Grammy nominations. and Korea; performed on ten hours’ notice to replace an ill William Preucil, performing In addition to her current posts with the Vivaldi’s The Four Seasons 20 times in one Buffalo Philharmonic, Virginia Symphony, week; toured Japan with the Busan and Brevard Music Center, Ms. Falletta is Philharmonic in 2008; has worked with Lincoln Center conductors Riccardo Chailly, Charles Dutoit, with Greater Newburgh Symphony; per - Riccardo Muti, André Previn, Yannick Nézet- formed extensively throughout the United Séguin, and Sir Simon Rattle; has performed States, Italy, Austria, Hungary, Germany, with leading musicians Pinchas Zuckerman, France, Greece, Denmark, Switzerland, as Jaime Laredo, Carter Brey, John Sharp, well as his native Russia Marya Martin, and members of the Orion, Tokyo, and Guarneri string quartets Honors: 1992 Young Artists International Auditions Cello Award; first prize, Leningrad Positions: Concertmaster, Buffalo Phil - Chamber Music Competition; Winner’s harmonic Orchestra; faculty, Royal Con - Showcase Series, Great Philharmonic Hall, servatory of Music, Toronto; has been on Leningrad; nominee, 2001 Carlos Gomes the faculty of the Hong Kong Academy of Prize, Best Instrumentalist of the Year Performing Arts, Korean National University of the Arts, Yonsei University, Tampere Positions: Principal cellist, Buffalo Phil- Conservatory, and the Seoul Arts High harmonic Orchestra; founding member School; has taught at the Bowdoin Inter- and artistic director, Bravo International national Music Festival, Atlantic Music Chamber Music Workshop, a comprehen - Festival, and Interlochen Arts Camp sive chamber music workshop for high school and college students, July–February Education: Curtis Institute of Music, Yale every year School of Music Discography: Miguel del Aguila’s Concierto en Tango , Buffalo Philharmonic, 2015, writ - ten for Mr. Mekinulov and nominated for Latin Grammy

Roman Education: Rimsky-Korsakov College, The Mekinulov , Cello Juilliard School (B.M., M.M.)

Appearances: Principal cellist, North Carolina The Orchestra Now - Symphony, European tour; Schleswig- The Orchestra Now (T ON) is a group of Holstein Musik Festival Orchestra, Germany; vibrant young musicians from across the substitute, ; Jupiter globe who are making orchestral music rele - Symphony Chamber Players, NYC; on tour vant to 21st-century audiences. They are lift - with St. Petersburg Quartet and with ing the curtain on the musicians’ experience chamber players in Naples, Florida, and and sharing their unique personal insights in Virginia Arts Festival; principal cellist, a welcoming environment. Hand-picked Orquestra Sinfonica do Estado de Sao from the world’s leading conservatories — Paulo, Brazil including The Juilliard School, Shanghai Conservatory of Music, Royal Conservatory Performances: Concerto appearances of Brussels, and the Curtis Institute of - with Virginia Symphony, Albany Symphony, Music—the members of T ON are not only and Erie Chamber Orchestra; U.S. pre - thrilling audiences with their critically miere of Krzysztof Penderecki’s Concerto acclaimed performances, but also enlight - doppio with the Buffalo Philharmonic ening curious minds by giving on-stage intro - Orchestra; U.S. solo debut with orchestra ductions and demonstrations, writing concert performing Schumann’s Cello Concerto notes from the musicians’ perspective, Lincoln Center

- and having one-on-one discussions with of The Orchestra Now (T ON) and in 2009 patrons during intermissions. was appointed principal guest conductor of the American Symphony Orchestra. From Conductor, educator, and music historian 2009–15 he served as music director of Leon Botstein founded T O- N in 2015 as a The Collegiate Chorale. Some of the high - master’s degree program at Bard College, lights of his tenure with them include con - where he also serves as president. The ducting a number of operas-in-concert at orchestra is in residence at Bard’s Richard , including Bellini’s Beatrice di B. Fisher Center for the Performing Arts, Tenda , Rossini’s Möise et Pharaon , and performing multiple concerts there each Boito’s Mefistofele . He conducted the New season as well as taking part in the annual York premiere of Philip Glass’ Toltec Sym- Bard Music Festival. They also perform phony and Golijov’s Oceana , both at Carnegie regularly at the finest venues in New Hall. Since 2011 he has collaborated with York, including Carnegie Hall, Lincoln singer and composer Natalie Merchant, Center, The Metropolitan Museum of Art, conducting a number of major orchestras and others across New York City and across the country, including the San beyond. The orchestra has performed Francisco and Seattle Symphonies. with many distinguished conductors, including Fabio Luisi, Neeme Järvi, Gerard Mr. Bagwell has trained choruses for Schwarz, and JoAnn Falletta. numerous American and international orchestras, including the Mostly Mozart - We invite you to get to know T ON and dis - Festival Orchestra, New York Philharmonic, cover music in the making! Explore upcom - Boston Symphony Orchestra, Los Angeles ing concerts, see what our musicians have Philharmonic, Budapest Festival Orchestra to say, and more at theorchestranow.org. and American Symphony Orchestra. He prepared The Collegiate Chorale for con - Bard Festival Chorale certs at the Verbier Festival in Switzerland; The Bard Festival Chorale was formed in in 2012 the Chorale traveled to Israel and 2003 as the resident choir of the Bard the Salzburg Festival for four programs Music Festival. It consists of the finest with The Israel Philharmonic. Since 2003 ensemble singers from New York City and he has been director of choruses for the surrounding areas. Many of its members Bard Music Festival, conducting and have distinguished careers as soloists and preparing choral works during the summer as performers in a variety of choral groups; festival at The Richard B. Fisher Center for all possess a shared enthusiasm for the the Performing Arts. He frequently appears exploration of new and unfamiliar music. as guest conductor for orchestras around the country and abroad, including the James Bagwell , Director, Bard Cincinnati Symphony, Jerusalem Symphony, Festival Chorale and the Interlochen Music Festival. He is James Bagwell maintains an active inter - professor of music at Bard College, and national schedule as a conductor of choral, director of performance studies and the operatic, and orchestral music. He was graduate conducting program at the Bard most recently named associate conductor College Conservatory. Lincoln Center E N I D

T T A M The Orchestra Now Leon Botstein , Music Director

Violin I Alana Shannon Horn Clarinet Adina Mu-Ying Tsai, Zhilin Wang Shannon Hagan, Viktor Tóth Concertmaster Principal (Adams) Fangxi Liu Bass Anna Lenhart, Principal Bassoon Coline Berland Luke Stence, Principal (Penderecki) William Beecher Clara Engen William McPeters Ethan Brozka, Principal Cornelia McGiver Weiqiao Wu Paul Nemeth (Holst) Drew Youmans Joshua DePoint Philip Brindise Horn Leonardo Pineda Casey Karr Cameron West Diego Gabete Zhenyuan Yao Trumpet Amanda Ray Michael Rau Milad Daniari Zachary Silberschlag, Youyang Qu Michael Franz Principal (Adams) Trumpet Szabolcs Koczur, Anita Tóth Violin II Flute Principal (Penderecki) Grace Choi, Principal Denis Savelyev, Principal Christopher Moran, Trombone Hyunjae Bae (Adams, Penderecki) Principal (Holst) William Lang Yurie Mitsuhashi Matthew Ross, Benjamin Oatmen, Jiayu Sun Principal (Holst) Trombone Bass Trombone Jiyoung Moon Thomas J. Wible ( on Gabe Cruz, Principal Hao Xing leave ) Federico Ramos ( on Timpani Lila Vivas Blanco leave ) Charles Kiger ( Adams, Yuqian Zhang Oboe Penderecki ) Lili Sarayrah Kelly Mozeik, Principal Tuba Haemi Lee (Adams) Dan Honaker Percussion Regina Brady, Principal Matt Walley, Tenor David Degge Viola (Penderecki) Tuba Yuri Yamashita Omar Shelly, Principal Aleh Remezau, Chi Lee Principal (Holst) Timpani Harp Bonnie Heung James Jihyun Kim Miles Salerni ( Holst ) Tomina Parvanova Emmanuel Koh Scot Moore Clarinet Percussion Celeste Caleb Wong Micah Candiotti- William Kaufman Bethany Pietroniro Yuan Qi Pacheco, Principal (Adams, Penderecki) Harp Organ Cello Elias Rodriguez, Emily Melendes Renee Louprette Andrew Borkowski, Principal (Holst) Principal Sangwon Lee Synthesizer Eleanor Lee Guest Musicians Christopher Oldfather Hui Zhang Bassoon Kyle Anderson Carl Gardner, Principal Flute Lauren Peacock (Adams, Penderecki) Katherine Lee Althen Danny Poceta Adam Romey, Principal Victor Wang Jinn Shin (Holst) Lincoln Center

Bard Festival Chorale James Bagwell , Director

Soprano Alto Megan Brunning Erin Kemp Danielle Buonaiuto Erica Koehring Chloe Holgate Nicole Mitchell Kathryn McCreary Suzanne Schwing Elizabeth Smith Nancy Wertsch* Martha Sullivan Abigail Wright

*Choral Contractor - Meet the T ON Last book read: Honestly, it was The Surfcaster’s Guide to the Striper Coast by Musicians D. J. Muller Favorite painting: Paintings by my dad Piece of advice for a young classical musician: Practice meticulously, slowly, and efficiently. Time travel destination: Middle Ages or E

E Wild West

L William

O T I

J Mc Peters , Bass

William will talk briefly about Penderecki’s Concerto doppio on stage before the per - R formance. E D A M

N Kelly Mozeik , U

Hometown: West Caldwell, NJ A H Oboe Alma mater: The Juilliard School S Appearances: Atlantic Music Festival, Kelly will talk briefly about Holst’s The Maine, 2014; Aspen Music Festival, 2012–13 Planets on stage before the performance. Musical origins: I started on cello at age eight, switched to bass at 12. Bass looked Hometown: Pittsburgh, PA “cooler” to me, and I realized there were Alma maters: Cleveland Institute of many more opportunities such as jazz and Music, B.M.; Rice University, Shepherd rock that are more easily accessible to a bass School of Music, M.M. player. Furthermore, I just like bass lines. Appearances: Houston Grand Opera, Favorite piece to play: Brahms’ Symphony 2015, substitute; Louisiana Philharmonic, No. 2 New Orleans, 2015, substitute; New Favorite obscure piece: Aeolian Harp by World Symphony, Miami, 2014–present, Henry Cowell substitute; Corpus Christi Symphony, TX, Favorite fact about your instrument: Its 2014–15, substitute; Woodlands Symphony, lower frequency sound waves are some - Houston, principal oboe, 2014–15; Cypress thing like 30 ft. long. Symphony, Houston, principal oboe, 2014; Favorite non-musical hobby: Fishing and Texas Music Festival, 2012 and 2013; woodworking Masterworks Festival, Indiana, 2011 Musical origins: I started on piano at age five and took up violin in third grade. I Lincoln Center

didn’t want to be in band and I thought it Favorite composer fact: Beethoven became was for the “uncool” kids. I later found out deaf but was still able to compose and that my best friend was joining so I’m write wonderful music. It just shows that thinking, “Why not?” I wanted to play the we have no excuse! saxophone, but my mother refused. She Musical guilty pleasure: I love John said I needed to pick an instrument not Williams. I blast Star Wars in the car with many people play, like the oboe. So again I the windows down and I think people look thought, “Why not?” and here I am 15 years at me funny. later making a living out of it. Thanks, Mom! Proudest accomplishment : Getting into Favorite pieces to play: Mahler’s Symphony this program of course! It takes me one No. 2 and Brahms’ Symphony No. 3 step closer to accomplishing my dream. Favorite obscure piece: Phillip Glass’ Favorite non-musical hobby or activity: Einstein on the Beach I teach zumba and I also love playing bingo!

The Orchestra Now Artistic Staff Administrative Staff Leon Botstein, Music Director Lynne Meloccaro, Executive Director James Bagwell, Associate Conductor and Oliver Inteeworn, Managing Director Academic Director Brian J. Heck, Director of Marketing Zachary Schwartzman, Resident Conductor Nicole M. de Jesús, Director of Development Andrés Rivas, Assistant Conductor Sebastian Danila, Music Preparer and Researcher Erica Kiesewetter, Director of Audition Preparation Marielle Metivier, Orchestra Manager and Principal String Coach Alice Terrett, Marketing Associate Bridget Kibbey, Director of Chamber Music and Benjamin Oatmen, Librarian Arts Advocacy Hsiao-Fang Lin, IT Associate Viktor Tóth, Production Coordinator Kristin Roca, Administrative Assistant

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

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The Orchestra Now 2018 Highlights

FREE CONCERT ON THE UPPER WEST SIDE Works by Sibelius and Rimsky-Korsakov Conducted by Zachary Schwartzman , resident conductor of The Orchestra Now Sunday, January 21, at 4 p.m.

GERSHWIN’S AN AMERICAN IN PARIS Plus works by Schumann and Jennifer Higdon Conducted by James Bagwell , associate conductor of The Orchestra Now at the Fisher Center for the Performing Arts at Bard College Saturday, February 3, at 8 p.m. and Sunday, February 4, at 2 p.m.

SHOSTAKOVICH, MICHELANGELO & THE ARTISTIC CONSCIENCE Shostakovich’s Suite on Verses of Michelangelo and the artwork of Michelangelo and others Conductor and music historian Leon Botstein explores the parallels between orchestral music and the visual arts. On-screen artworks are discussed alongside musical excerpts, followed by a full performance and audience Q&A. with Tyler Duncan , Baritone Sunday, February 11, at 2 p.m.

BERLIOZ’S SYMPHONIE FANTASTIQUE Plus Walter Braunfels’ Fantastic Appearances of a Theme by Berlioz Conducted by Leon Botstein , music director of The Orchestra Now and the American Symphony Orchestra at Jazz at Lincoln Center’s Rose Theater Thursday, March 29, at 7:30 p.m.

BARTÓK’S CONCERTO FOR TWO PIANOS Plus symphonies by László Lajtha and Ahmed Adnan Saygun Conducted by Leon Botstein ; with Peter Serkin and Anna Polonsky , Piano at Carnegie Hall, Stern Auditorium/Perelman Stage Thursday, May 3, at 7 p.m.

More information available at theorchestranow.org.