LYNN UNIVERSITY CONSERVATORY OF MUSIC Table of Contents

3 Message to our Friends 4 Supporting the Conservatory _ 6_ Friends of the Conservatory:

7 About our Orchest. ~r=a ______8 _ Our Dean - Jon Robertson

9 About_our Conductor - Albert-George Schram

11 Philharmonia Orchestra #1 - Frida}', October 7 _ Program Guest Artist, Nelson Hsieh Program Notes

_ _Jl_ __philharm

23 Philharmonia Orchestra #3 - Friday, December 2 Program Guest Artist, Roberta Rust Program Notes

28 Benefactors -~3~2___ F ~all Upcoming Even ~ts______MESSAGE to our Friends

Welcome to the 2005-2006 season . This being my first year as Dean of the Conservatory, I greet the season with unabated enthusiasm and excitement. The talented musicians and extraordinary performing facu lty at Lynn represent the future of the perform­ ing arts, and you, the patrons, pave the road to their artistic success through your presence and generosi­ ty. Th is community engagement is in keeping with the Conservatory of Music's mission: to provide high-qua li ty professional performance education for gifted young musicians and set a superior standard for music performance worldwide.

This season also holds special meaning for me as I share with my wonderful co ll eague, Maestro Albert­ George Schram, the conducting responsibilities of the Philharmonia, as wel l as join ing my faculty in chamber music performances.

As the Conservatory continues to expand and excel, your active support, sponsorships, and direct contri­ butions will ensure our place amongst the premier conservatories in the world.

Please join us for a wonderful season of great music!

Dr. Jon Robertson Dean

3 the Conservatory

The Lynn University Conservatory of Music attracts some of the world's most talented young musicians. Here, these student-artists, who hail from more than a dozen countries, hone their skil ls and pursue their degrees in instrumental performance, preparing to join the world 's leading symphony orchestras and most pres­ tigious graduate music programs. More than 98 percent of Lynn University Conservatory of Music alumni establish careers in music performance fol­ lowing graduation. To bu il d upon our excellence, we need your help. You may support the Conservatory of Music by contributing to scholarships, the development of new programs or other student needs. Your gift may be designated for the following :

The Annual Fund - a gift to the Annual Fund can be designated for schol­ arships, various studios, special concerts or to the General Conservatory Fund.

Adopt-a-Student - You may select from the conservatory's promising young musicians and provide for his or her future through the Conservatory Scholarsh ip Fund. You will enjoy the concert even more when you r student performs A gift of $25,000 adopts a student for one year. A gift of $100,000 pays for an education.

Estate Gift - an estate gift will provide for the conservatory in perpetuity. Your estate gift may be made as a gift of appreciated stock, real estate or cash. An estate gift is the ultimate way to provide for the future success of the Conservatory.

Contributions - you may make a tax-deductible contribution to the Conservatory Scholarship Fund when completing your ticket order; simply indicate your gift in the "contribution" line on the envelope enclosed on the last page. Your order and gift are included in one convenient payment Your gift makes a tremendous difference to our students and the excellence of our programs.

Volunteering - help support the Conservatory of Music by becoming a volunteer. Contact the Ticket Office Manager at 561 -237-9000 for more information.

Visit t he university's Web site at www.lynn.edu and click on the "Support Lynn" option for opportunities to support Lynn University. - Conservatory

One of the leading conservatories with­ throughout the year for membership in a university environment, Lynn 's meetings and an annual tea in Conservatory of Music admits a highly November. Specific musical programs select group of gifted music students are provided by the faculty and students who pursue rigorous performance for these special events training in solo, chamber and orchestral music. For some students, however, Please JOin us in furthering excellence at meeting the costs associated with a the Conservatory of Music and trans­ first-rate music performance education forming the lives of ta lented young ca n be highly challenging. And beyond musicians. regu lar operating expenses, the conser­ Four classes of membership are vatory each year must fund additional offered: activities such as student travel and hosting visit ing conductors and artists. • Life Member: $1,000 • Benefactor: $250 That's why the w ork of the Fr iends of •Patron: $100 the Conservatory of Music is so impor­ • Friend: $35 tant This dedicated group provides financial support for scholarships Dues are fully tax-deductible. In and other vital needs. Since its estab­ add ition, Life Members rece ive a plaque lishment in 2003, the Friends of the that visibly demonstrates their commit­ Conservatory of Music has raised signif­ ment to Lynn's Conservatory of Music. icant funds for the Conservatory through membership dues and special We look forward to having you join our events-chief among them, the highly cause in helping these exceptional stu­ popular Family Ho liday Concert. dents. For more information, please call 561-237-7766. Beyond outstanding music, members of the Friends of the Conservatory of Thank you from all of us at the Friends Music also have the opportunity to of the Conservatory of Music as w ell as enjoy the company of others who share the current and future Conservatory of their enthusiasm for the Conservatory Music scholarship students. and its mission . Members gather our Lynn University Philharmonia Orchestra

The Lynn University Ph ilharmonia sets out its history and has always been the standard for university level sym ­ enthusiastically received by the public phonic train ing . The Lynn University and the press. Music directors of the Philharmonia is directed by Albert Philharmonia have included such con­ George Schram, former resident con­ ductors as Markand Thakar and Arthur ductor of the Florida Ph ilharmonic and Weisberg, and many guest conductors resident conductor of the Columbus such as Da vi d Lockington, Zeev Symphony Orchestra. The Philharmonia Dorman, Joseph Silverstein, Claudio was first formed in 1991 as the Harid Jaffe, Se rg iu Schwartz, and others. It String Orchestra with the founding of has performed in such venues as the the Conservatory. It became a full sym ­ Lincoln Theater in Miami Beach, the phony orchestra in 1993. As an integral Coral Springs City Center, the Spanish part of the training of both graduate River Chu rch in Boca Ra ton, and the and undergraduate music students of Broward Center for the Performing Lynn University, the Ph ilharmonia offers Arts. Now in its 13th season as a full excellent orchestral training through symphony orchestra, the Lynn the preparation and performance of University Ph ilharmonia Orchestra con ­ orchestral repertoire and a minimum of tinues to present high-q ua lity concerts six public performances per year. It has with a w ide range of repertoire. presented several new works through- .. OUR DEAN Jon Robertson

Maestro Jon Robertson enjoys a distinguished caree r, both as a pianist, conduc­ tor and academician. He was awarded full scholarship six consecutive years to The Juilliard School of Music, earning a B.M. , M.S., and D.MA degrees in piano performance as a student of Beveridge Webster.

After completing a Master's Degree at Juilliard, he was appointed Chair of the Department of Music at Oakwood College in Huntsville, Alabama. In 1970, Robertson returned to The Juilliard as a Fo rd Foundation Scholar to complete his Doctorate of Musical Arts.

In 1972, Robertson became Chair of the Thayer Conservatory of Music at Atlantic Union College, in Massachusetts.

He became Conductor and Music Director of the Kristiansand Symphony Orchestra in Norway in 1979 and served until 1987.

In 1982 Maestro Robertson became the Conductor and Music Director of the Redlands Symphony Orchestra.

As guest conductor, Maestro Robertson has conducted orchestras nationally and internationally. Among others: the San Francisco Symphony at Stern Grove to critical acclaim, returning for their subscription series in Davies Hall; the Beijing Central Philharmonic in China; he is a regular guest conductor of the Cairo, Symphony Orchestra in Egypt and was the principal guest conductor of the Armenian Philharmonic Orchestra in Yerevan from 1995-1 998. Maestro Robertson has also conducted the Bratislava Chamber Orchestra, at the Pianofest Austria at Bad Aussee, Austria, and most recently in South Africa, at the University of Stellenbosch International Festival.

Dr. Jon Robertson has just begun his tenure as Dean of the Lynn Conservatory of Music. OUR CONDUCTOR Albert-George Schram

A native of the Netherlands, Dr. Schram is resident staff conductor of the Columbus Symphony Orchestra, a principal guest conductor of the Charlotte Symphony Orchestra, and conductor of the Lynn University Conservatory of Music Philharmonia Orchestra. He w as the resident conductor of the Florida Ph ilharmonic. His longest tenure has been w ith the Columbus Symphony Orchestra, w here he has w orked in a variety of capacities since 1979.

Concurrently, Dr. Schram was music director and conductor of the Lubbock Symphony Orchestra from 1994-2000. During his tenure, the orchestra blossomed into the pre­ mier arts organization in West Texas. From 1990 to 1996, Dr. Schram served as resident conductor of the Louisville Symphony Orchestra. Three of the orchestra's subscription series have enjoyed exceptional growth under his artistic guidance.

Dr. Sch ram's recent foreign conducting engagements have included the KBS Symphony Orchestra (live, televised concerts), the Taegu Symphony Orchestra in Korea, and the Orchester der Allgemeinen Musikgesellschaft Luzern in Switzerland. He has made return appearances to his native Holland to conduct the Netherland Radio Orchestra and the Netherland Broadcast Orchestra.

In the Un ited States, his recent and upcoming guest conducting appearances include the Florida Philharmonic, Dallas Symphony Orchestra, Tucson Symphony, Oklahoma City Philharmonic, Spokane Symphony, Louisville Orchestra, Dayton Philharmonic, Charlotte Symphony, Nashville Symphony, Shreveport Symphony, San Antonio Symphony, Ba llet Metropolitan, and the Akron University Opera .

Dr. Schram's studies have been largely in the European tradition under the tutelage of Franco Ferrara, Rafael Kubelik, Abraham Kaplan, and Neeme Jarvi. He has studied at the Conservatory of the Hague in the Netherlands, the un iversities of Calgary and Victoria, and the University of Wash ington where he recei ved the Doctor of Musical Arts in conducting. -

LYNN UNIVERSITY Conservatory of Music presents

LYNN UNIVERSITY PHILHARMONIA ORCHESTRA #1 SYMPHONIC KNIGHTS SERIES

Presented by Bank of America

Albert-George Schram, artistic director and conductor Nelson Hsieh, violin (Winner, 2005 Young Musicians Competition for Strings)

Friday, October 7, 2005 7:30 p.m.

Spanish River Church Boca Raton, Florida

All proceeds from this concert will be donated to Hurricane Katrina relief efforts. The prayers and hopes of the Lynn University Community are with all who are suffering. 11 Friday, October 7, 2005

Franz Joseph Haydn (1732-1809)

Symphony no. 94 (" Surprise" ) in G major

I. Adagio -- Vivace assa i II. Andante Ill. Menuet Allegro molto -- Tr io -- Menuet IV Fi nale. Allegro di molto

Johannes Brahms (1833-1897)

Variations on a Theme by Joseph Haydn, op. 56a

INTERMISSION

Henri Vieuxtemps (1820-1881 )

Concerto no. 5 in A minor for violin and orchestra, op. 37

I. Allegro non t roppo IL Adagio Ill. Allegro con fuoco

Ne lson Hsieh, violin (Winner, 2005 Young Musicians Competition for Strings)

Robert Schumann (1810-1856)

Symphony no. 4 in D minor, op. 12 0

I. Zie mlich langsam -- Leb haft II. Romanze (Ziemlich langsam) Ill. Scherzo (Lebhaft) .IV Langsam - Lebhaft - Schneller - Presto NELSON HS IE H

At the age of 15, violinist Paishiun Nelson tions, at both junior and senior levels; the Hsieh is already a season ed performer Young Artist Competition of the Bach and a top prizewinner in numerous com­ Festival Society of Winter Park; the 2004 petitions. Nelson started playing the vio­ Sti llman-Kelly Competition; the Florida lin at the age of four and, in 1996, con­ State Music Teachers Association tinued his studies with Lev Gurevich, (FSMTA), where he placed first in consec­ when his family moved to Orlando, utive years (1999-2002), both at regional Florida. and state levels; the 2003 Florida Federation of Music Clubs 66th Annual Since 2003, Nelson has been studying Junior Convention, where he won the with Lynn University Professor Sergiu prestigious Irene Muir Award; and he is Schwartz, and, consequently, he has also a three-time winner of the Concerto been a steady prizewinner in music com ­ Competition of the Florida Youth Artist petitions, including winning the First Orchestra (FYAO), where he also serves as Pr ize at the 2005 Young Musicians concertmaster. Competition for Strings at Lynn University, the 2005 Music Teachers This summer, Nelson recei ve d standing National Association (MTNA) Finals in ovations for his performances in the Seattle, the 2004 Senior High Concerto "Artists of Tom orrow" concert series at Competition of the New World the Bowdoin International Music Festival , Symphony, and a top prize at the 2005 where he studied with Sergiu Schwartz. National Society of Arts and Letters Violin Nelson has also appeared as a soloist Competition. In addition, Nelson has also with the New World Symphony and been a prizewinner at all recent state, has performed in concert series across regional and national MTNA competi- Florida. Joseph Haydn (1732 - 1809) Nicholas died in 1790, Haydn was no Symphony No.94 in G Major "Surprise" longer required to fulfill his commitments of Kapellmeister (although he reta ined the Joseph Haydn is known as the 'father of full sa lary of the position) and was able to the symphony'. Born in 1732 in the village accept an invitation to vis it London organ­ of Rohrau, he was the son of a wheel­ ized by the impresario Johann Peter wright. His early musical experience was in Salomon. In 1791, six new symphonies the choir of St Stephen's Cathedral in were to be provided for the subscription Vienna at the age of eight, but as a young concerts at the Hanover Square Rooms in man he struggled for eight years of 'a mis­ London. So successfu l was Haydn's visit erable existence', as he was to later to that it lasted well over a year, and he was recall, as a freelance performer. In 1759, to return for a second visit to London in Haydn secured a position in t he household 1794. of Count Morzin as director of music, and two years later secured an even better JOb Symphony No. 94 'The Surprise' was per­ when he entered the service of Prince Pau l formed at a concert on 23rd March, 1792, Anton Esterazy as deputy to the old the sixth of the new series, and proved to Kapellmeister (Music Director) Gregor have an enduring popularity, both at its Werner. The Hungarian Esterhazy family first performance and for audiences ever had enormous estates - a palace, winter since. The first movement opens with a garden and marionette theater. Prince Paul slow introduction, characteristic of Haydn's Anton died in 1762 and was succeeded by 'London' symphonies, followed by the his brother Prince Nikolaus, who spent lav­ main 'allegro' first movement with its ish amounts of money on bui lding the rhythmic vitality. The well known C major great palace of Esteraza, and on music, for slow movement provides the surprise in which he had a pass ionate love. In 1766 the symphony's title by sudden outbursts Werner died, and Haydn assumed the of sound, 'fortissimo', which interrupt the many duties of Kapellmeister, including steady progress of the melody. The minuet composing symphonies, operas and cham ­ is faster than is usual in this movement ber music, directing performances, copying based on the medium tempo courtly min­ parts, settling disputes and tuning key­ uet, and its trio, the contrasting inner sec­ board instruments. tion, has first violins and bassoon in octaves . The finale opens with a cheerful Haydn remained in the employment of the first subject, succeeded by a contrasting Esterhazy family for the next 30 years. second subject, in a work which has Although the Esterhazy estate was re lative­ appealed to audiences from Haydn's t ime ly isolated, Haydn gained increasing repu ­ to ours. tation in Europe by the publication and performance of his works. When Prince Program Notes Continued

Johannes Brahms (1833 - 1897) The greater part of Brahms' life was to be spent in Vienna, the city of Mozart, Variations on a Theme of Haydn, Beethoven and Schubert, where he finally Op. 56a settled in 1863. In Vienna he establi shed a pattern of life that was to continue until his In 1853 Robert Schumann detected in the death in 1897. He appeared as a pianist, young Brahms "a man singled out to make principally in his own compositions - he was articulate an ideal way of the highest the soloist in the first performance of his D expression of our time". Here indeed was minor piano concerto - and impressed the the long awaited successor to Beethoven, public with a series of compositions of but it was a claim which was difficult for strength, originality and technical perfec­ Brahms to rea lize as the next ma1or sym ­ tion. By contrast with the new, looser musi­ phonic composer, so it was not until he was cal forms of Liszt and Wagner, Brahms 40 that he wrote his f irst symphony. demonstrated a mastery of the traditional Throughout his life, he was highly critical of forms of music. his own works, and the long period of com­ positional planning for a D minor symphony But it was not only the symphony that (the same key as Beethoven's last symphony Brahms admired in the past and wanted to which would have enabled him to assume perpetuate in his own works. Through the the Beethoven 'mantle') was abandoned as librarian of the Vienna Gese ll schaft der a symphony, and reworked as the first piano Musikfreunde (Society of the Friends of concerto. Music), Karl Ferdinand Pohl, Brahms discov­ ered the Feldpartiten (outdoors music) of Brahms was born in Hamburg in 1833. His Haydn, written for wind band, the immedi­ father was a musician, a double bass player, ate source of the theme of Brahms's Haydn and his mother a seamstress some 17 years Variations. The theme on which the varia­ older than her husband. The family was tions are based is an old pilgrims' hymn in poor, and as a boy Brahms, like Haydn, had honor of St Anthony, used by Haydn during to earn money however he could, in his case the course of his employment in Bohemia as by playing the piano in dockside taverns for a musician in the house of Count Morzin. the entertainment of sailors . Nevertheless Brahms' Variations were written during the his ta lent brought him support, and teach­ summer of 1873, spent at Tutzing on the ing from Eduard Marxsen, to whom he later Starhembergersee, near Munich. The work dedicated his B Flat Piano Concerto, was first performed by the Vienna although he cla imed to have learned noth­ Philharmonic Orchestra in November of the ing from him. (Beethoven earlier said the same year. This set of variations is part of same about his lessons from Haydn). Brahms' interest in the form, to show his skill in varying orchestration and texture over a basic theme. Prog ram Notes Continued

The B flat major theme first appears in a sition from Wieck, who feared that the mar­ straightforward chorale-like texture, scored riage w ou ld end her career. for wind over pizzicato cellos and double basses. In the first variation the violins After Schumann injured his hand, he w as no embellish the theme, the orchestral texture longer able to continue his training as a pro­ darkened by double bassoon and timpani, fessional pian ist (which would also have put leading to a flowing version of the melody, hi m in a position of ri valry w ith Clara ), and played first by the oboe, then the vi olins. The concentrated on composition and w riting fourth variation returns to the minor key in a for the Neue Zeitschrift fur Musik. In 1839, more melancholy mood, to w hich the fifth the year before his marriage to Clara, variation is in marked contrast, w ith its Schu mann heard Mendelssoh n conduct woodwind instruments in thirds. The sixth Schubert's 'Great' symphony, a work that version of the theme is one of emphatic had not yet been published. It provi ded the energy, dominated initially by the French impetus for Schuma nn to embark on the horns, leading to a gently pastora l seventh first of his four symphonies. variation and an eighth in which muted vi o­ las and cel los are joined by the other instru­ The D minor symphony w as originally writ­ ments in a mysteriously hushed mi nor ten in 1841 after Schumann had completed appearance. After contrapuntal entries, the his first symphony in B flat, but the compos­ finale leads to an impressive restatement of er withdrew it after its unsuccessful first per­ the opening theme. formance. It would be another 10 years before Schumann would revi se the score, Robert Schumann (1810 - 1856) adding new aspects of orchestration. The premiere of the revi sed version w as in Symphony No.4 in D Minor, Op. 120 Dusseldorf on March 3, 1853, and the work Robert Schumann was born in Zwickau in w as now numbered as his fourth symphony. 1810, the son of August Schumann, a book­ se ller, writer and publisher. Surrounded by The movements are played continuously, books from early chi ldhood, Schumann and the work is written on a cyclical plan. developed lierary as well as musical talent. Motifs from the first movement, such as the His Romantic imagination was fired by the gliding eighth-note opening theme in the writings of Jean Paul Richter, and his musical introduction and the strongly articulated fig­ style developed distinct personas - the fiery ure at the beginning of the main fast sec­ Florestan and the dreamy Eusebeus. These tion, return later in the work. Dramatic and voices were not restricted to his music, but powerful, the first movement leads directly were used as the 'authors' of his concert into the second moveme nt Romanze, a write-ups as a music critic and editor of the three-part form in A minor, the opening music Journa l Neue Zeitschrift fUr Musik. oboe theme characterized by yearning and melancholy. By contrast, the following scher­ Schumann studied at un iversity in Leipzig zo is a strongly articulated movement in the and in Heidelberg, where, in the society of key of the work, D minor, with two trios in B his friends, he was able to indulge his gifts as flat major, with flutes and clarinets in thirds a musician and as a writer. After his father's with a lyrical string accompaniment. But death, he persuaded his mother in 1831 to instead of the opening return in g one last allow him to leave the university and to time to close out the movement emphatical­ study the piano with Friedrich Wieck, a well ly, the music dissolves aw ay into a mysteri­ known teacher, whose daughter Clara was a ous link to the finale. This is in D major, and brilliant pianist, and w ho Schumann was to ba lances the dramatic first movement by marry in 1840 after nine years' bitter oppo- providing the work's energetic conclusion. LYNN UNIVERSITY Conservatory of Music

presents

LYNN UNIVERSITY PHILHARMONIA ORCHESTRA #2 SYMPHONIC KNIGHTS SERIES

Presented by Bank of America Individual sponsor: James and Bette Cumpton

Jon Robertson, guest conductor Lisa Leonard, piano David Cole, cello

Friday, November 4, 2005 7:30 p.m.

Spanish Ri ver Church Boca Raton, Florida

17 Friday, November 4, 2005

Joseph Curiale (b 1955)

"Joy" from Awakening (Songs of the Earth)

Antonin Dvorak (1841-1 904)

Concerto in B minor for violoncello and orchestra, op. 104

I. Allegro II. Adag io, ma non troppo Ill. Finale. Allegro moderato

David Cole, cello

INTERM I SS ION

Piotr llyich Tchaikovsky (1840-1893)

Symphony no. 4 in F minor, op. 36

I. Andante sostenuto -- Moderato con anima II. Andantino in modo di canzona Ill. Scherzo . Pizzicato ostinato -- Allegro IV Finale. Allegro con fuoco DAV ID COLE David Cole is an artist who lets truth be his the orchestra conducted by Casa ls. Da vid gu ide, who looks within for knowledge, and also participated in a Jeuness Musical in is inspired by the mysterious beauty of the Yugoslavia and in the Aspen and Tang lewood Universe. Dedicated to the intentions of the music festivals. composer while realizing the delicate balance between emotion and form, David creates an Cole's musical experience includes playing as extraordinary concert experience. a member of many orchestras including La Scala in Milan, the Turin Radio Orchestra, the He has twice been soloist with the Vancouver Symphony, and , as principal ce l­ Phi ladelphia Orchestra, the National list, w ith the New Jersey Symphony, the Symphony in Washington, the orchestra in Florida Philharmonic, the Abruzzo Symphony, Nice, France, the So listi L'Aquilani at Car­ the Bethlehem Bach Festival Orchestra, the negie Hall, and more than 75 solo perform­ Solisti L'Aquilani, the Wilmington Symphony, ances w ith the Abruzzo Symphony in Italy. the Florida Grand Opera, and the He was awarded a Martha Baird Rockefeller Pennsylvania Ba llet orchestra. grant after performing at Carnegie Hall, and recorded trios with famed pianist Rudolf David 's love for classical music and his belief Serkin and violinist Pina Carmirelli. David per­ in its power as a living art form, have inspired formed for Pablo Casals on the Be ll him not on ly to strive for the highest stan­ Telephone Hour as part of a documentary on dards in cello playing, but to devote himself the Marlboro Festival, and has recorded to passing on the knowledge handed down piano trios for the Eurartist label with his vio­ to him by great artists of the past. As a linist wife Carol and Dutch pianist Jeannette teacher, David began as a teenager at the Koekkoek. David and Carol spent many years New School of Music in Philadelphia, contin­ in Europe where they toured extensively, uing at the lstituzione Sinfonica D'Abruzzo, appearing as soloists and as members of Italy. Over the past decade he has been chamber groups and symphony orchestras. teaching at the New World School of the Arts in Miami and the Dreyfoos School of the David is a fourth generation musician. His Arts in West Palm Beach. Th is year he has great grandfather and grandfather were vio­ begun working with the cello class at Lynn lin ists, and his father, Orlando, is famed cel ­ University in Boca Raton. During the summer list of the Curtis String Quartet and teacher he teaches, performs and gives master class­ at the Curtis Institute. David began cello es at Indiana University. study at four years old w ith Metta Watts, continuing with his father, Leonard Rose and David and Carol have a daughter studying Za ra Nelsova until graduatin g from the Curtis biology at F.l.U . and a violin-making son in Institute in 1967. He participated in the Pablo Minneapolis with his Lithuanian wife and Casa ls master classes during two summers at one-year-old daughter. Marlboro, and performed and recorded with Antonin Dvorak (1841 - 1904) the first to play through the w ork with the Cello Concerto in B Minor, Op. 104 composer in the previous August In June, after his return from America, the compos­ Dvorak was the son of a Czech inn keeper er had rewritten the ending of the work. and spent his early years as a musician There may have been a personal subtext to playing the viola, for a time under Smetana this altered ending. As well as his home­ at the Czech National Theatre. By 1873, sickness, Dvorak's sister-in-law Josefina the year of his marriage to a singer in the Kaunitova, who was the love of his life, chorus of the National Theatre, he w as became very ill. Shortly after his return able to leave the orchestra in order to home, Josefina died, and the altered end­ devote more time to composition. He ing includes references to the two previous achieved further financial security from a movements, especially the slow move­ government award given on the recom ­ ment. mendation of Brahms and the Vienna music critic Hanslick. Although Dvorak, as The first movement of the concerto opens a Bohemian, was to meet some hostility in w ith an orchestral exposition, the first Vie nna, he established an international theme, played with the dark, woody sound reputation as a composer over the follow­ of clarinets in A, being a short, dotted, ing years, particularly in London. In 1892 double-sided motif which is the basis of he accepted the position of director of the the first movement. The cello's first entry is new National Conservatory in New York, a version of this motif, but played freely. although he was deeply homesick for his The writing for the solo instrument is rich ­ native Bohemia. ly varied, using both passage work at the top of the instrument's range and its beau­ Dvorak wrote his B minor Cello Concerto in tiful lyrical qua li ties for the movement's America during the winter months of his second theme in D major. Dvorak reserves new contract, at the request of his col ­ the full orchestra for transition and closing league in Prague, the cellist Hanus Wihan. sections, by contrast w ith the more The composer's friendship with Wi han reduced scoring which shows off to maxi­ extended over many years, and Dvorak had mum effect the varied colors of the solo first drafted a cel lo concerto some 30 years instrument. before. Then in 1891 he wrote three single movement cello works for Wihan. The first Like the first movement, the slow move­ sketches for the concerto date from ment opens with clarinets in A, but the November 1894 and the work was com­ mood is very different, an instrumental pleted in February 1895. The first perform­ song in G major, as if reminiscent of spring ance of the concerto took place at the days, the theme then taken over by the Queen's Hall in London on 19th March cello. The finale returns to B minor and is 1896, strangely enough not with the dedi ­ pulsed like a march in the cellos and bass­ catee Wihan playing the solo part but the es. The cello announces the solo theme, English-born cel li st Leo Stern. W ihan first phrased in clea r four-bar un its. When the performed the concerto in public three cello returns with this theme, he explores years later, although he had in fact been its full potential, like an actor who reveals the moods of his or her character- inward, dence but, by mutual agreement, never playful, dramatic. The last section turns to met. B major, first mysterious, then the opening motif re-emerges to confirm its last appear­ Tchaikovsky started work on the 4'h sym ­ ance in this most expressive Romantic cello phony in the winter of 1876-7, but it was concerto. interrupted by the shattering aftermath of his marriage. Although little given to ver­ balizing the events of his life, he saw the Pyotr ll'yich Tchaikovsky (1840 - 1893) Symphony No. 4 in F Minor, Op. 36 events of the marriage and the support, financial and emotional, of Mme. von Born in Kamsko-Votkinsk in 1840, the sec­ Meck, as the hand of fate. He described ond son of a mining engineer, Tchaikovsky the open ing of his 4" as the work's had his early education, in music as in essence: "Fate, that ominous power, everything else, at home, under the care of before which nothing remains but submis­ his mother and of a beloved governess. sion and vain lamentation." The first move­ From the age of 10 he was a pupil at the ment introduction opens with a horn fan­ School of Jurisprudence in St. Petersburg, fare opening, with dramatic punctuations. completing his course there in 1859 with This is followed, at the beginning of the the intention of finding employment in the fast main section, by a long melody in the Ministry of Justice. violins, a movement constructed on a large scale. Instead of working in government, Tchaikovsky's path lay in music through the The second movement, Tcha ikovsky sug ­ timely founding of the new Conservatory gests, shows the sad weariness of evening, of Music in St. Petersburg under Anton in which past happiness may be remem ­ Rubinstein, where he studied as a full -time bered and past trouble, a sense of bitter student from 1863. In 1865 he moved to sweetness, epitomized in the opening Moscow as a member of the staff of the oboe melody. It is an Andantino in modo di new Conservatory established by Anton canzona (medium slow tempo in the mode Rubinstein's brother Nikolas. Tchaikovsky's of a song), based on a long-breathed oboe nervous and morbid temperament was melody, which is inflected with Russian complicated by homosexuality. In May1877 melodic color, the melody then taken up by he tried to stabil ize his life by marrying, but the cellos. The Scherzo is entirely pizzicato the marriage was disastrous and short­ (plucked) strings, the trio central section lived. Tchaikovsky tried to commit su icide joined by wind and horns, followed by the after three months, and in order to recover return of the pizzicato strings. The last his health he moved to Europe . In October movement contains brilliant writing for of the same year, a wealthy widow, strings and winds with a substantial part Nadezhda von Meck, who had previously for timpani. Like his ballet scores in its given the composer small commissions, drama and color, the finale provides the now settled an allowance on him, so pro­ work with a triumphant end. viding him effectively with financial securi­ ty. They established an intense correspon-

LYNN UNIVERSITY Conservatory of Music presents

LYNN UNIVERSITY PHILHARMONIA ORCHESTRA #3 SYMPHONIC KNIGHTS SERIES

Presented by Bank of America Individual sponsor: Daniel and Shirlee Freed

Jon Robertson, guest conductor Roberta Rust, piano

Friday, December 2, 2005 7:30 p.m.

Spa nish Rive r Church Boca Raton, Florida

23 Friday, December 2, 2005

Ludwig va n Beethoven (1770-1827)

Overture from Egmont, op. 84

Ludwig van Beethoven (1770-1827)

Concerto no. 3 in C minor for piano and orchestra, op. 37

I. Allegro con brio II. Largo Ill. Rondo. Allegro

Roberta Rust, piano

IN T ER M ISSION

Ludwig van Beethove n (1770-1827)

Symphony no. 3 (" Eroica" ) in E-flat major, op. 55

I. Al legro con brio II. Marcia funebre. Adagio assai Ill. Scherzo. Allegro vivace IV Finale. Allegro molto ROBERTA RUST Roberta Rust has inspired audiences and United States and has been the recipient of captivated critics on four continents. Born in a major grant from the National Texas, she began her concert career as Endowment for the Arts. Sh e was award­ soloist with the Houston Symphony ed additional grants and prizes from the Orchestra at age 16 playing the Saint-Saens Organization of American States, National Second Concerto and has since appeared Society of Arts and Letters, and with numerous orchestras including the International Concours de Fortepiano in New World Symphony, Symphony of the Paris. The Miami Herald described her as fol­ Americas, Boca Raton Ph ilha rmonic lows: " There was tremendous bravura, Symphonia, and orchestras in Bra zil, sweep and power... Here was a virtuosa". Peru, and the Domincan Republic. In 2006 Dr. Roberta Rust serves as Artist Faculty­ she is engaged for multiple performances of Piano and Professor of Music at the the Tcha ikovsky First Concerto with the New Conservatory of Music at Lyn n Universi ty in Philharmonic. As an outstanding cham­ Boca Raton, Florida (www.lynn. ed u/music). ber musician, she has played with the Lark Rust studied at the Peabody Conservatory, and Ying String Quartets, members of the graduated summa cum laude from the Empire Brass Qu in tet, and as duo-pianist University of Texas at Austin, and received with her husband, Ph illip Evans. performer's certificates in piano and German Lieder from the Mozarteum in The artist's wide and eclectic repertoire is Salzburg, Austria. She earned her master's reflected in her concert programming and degree at the Manhattan School of Music recordings. Her acclaimed compact discs and her doctorate at the University of include Franz Joseph Haydn (Centaur Miami. Her teachers have included John Records), Piano Music of Villa-Lobos Perry, Ivan Da vis, Artur Balsam, and Phillip (Centaur Records, www.centaurrecords.com), Evans. and Three American Premieres and the Prokofieff Sonata No. 6 (Protone Records). Dr. Rust gives master classes in ternationally, serves frequently as an adjudicator for piano Following her New York debut, Pu litzer-Prize competitions, and has w ritten articles for winning music critic Tim Page wrote in The publications including Clavier Magazine. New York Times: "Roberta Rust is a pow­ Recently she was a guest at the Chautauqua erhouse of a pianist-one who combines an Institution. She has also taught at Florida almost frightening fervor and intensity with International Un ive rsity in Miami and the impeccable tech ni que and spartan control." Harid Conservatory. Rust served as Artistic Ambassador for the Beethoven Concert: "Egmont' the symphonies 3 to 8, the 'Eg mont' over­ Overture; 'Eroica' Symphony; ture and the third, fourth and fifth piano 3'd Piano Concerto concertos, but also the violin concerto, the 'Razoumovsky' string quartets, many of The three works in the concert all date the great middle period piano sonatas and from Beethoven 's middle period. The bril ­ the opera 'Fidelio'. liant success of his early years in Vienna, where he had come in 1792 at 22, to make Beethoven was at best ambivalent about his name as a pianist and composer, much the new Romantic idea of program music, as Mozart had done, were overshadowed in which orchestral music depicts a story, by the end of the decade by increasing dif­ play or poem. However, the 'Egmont' story ficulty in hearing, especially high over­ of heroism, based on Goethe's realization tones. After many visits to doctors, who of the story, was central to Beethoven's prescribed drinking mineral water and a own vision of artistic meaning at this point vegetarian diet but did nothing to improve in his life - of conflict and individual deter­ his deteriorating hearing, Beethoven, full mination. The F minor key with its of anxiety about its effect on his perform­ 'cl enched fist' opening to the overture fol ­ ance career and his growing inability to lowed by the surging power of the ma in talk to people in public, left Vienna in the movement is eloquent realization of summer of 1802. In the village of Beethoven's sense of energy and purpose, Heiligenstadt, he wrote an open letter, with a new command of dynamic contrast ostensibly to his brother Carl, but more a and scope. document which chronicles his depression, the loss of his 'most noble faculty' and its The 'Eroica ' symphony was Beethoven's effect on his life, and that he had to flee largest and longest work to date, and was from people because he could not say "I to be longer than any of his other sym ­ am deaf." phonies until the 9" symphony in 1824. He reta in s the four movement form of Haydn But the second part of the 'H ei ligenstadt and Mozart, but this is music that has Testament' has a different tone and tells a moved out of the courtly ambiance into a different story. If he could not hear with his brave new, post Revolutionary world. The outer hearing, Beethoven could neverthe­ opening, sim il ar to 'Egmont,' is marked by less focus on his inner hearing . In a moving a strong gesture - here two peremptory description, he records that he has a high ­ chords, followed by the main theme in the er calling, to dedicate himself to his art, to cellos. The center of this long movement is his composing - a strength of purpose marked by a dramatic section of disso­ which was to release a large group of nance and dislocation, followed by a strik­ works, astonish in g for their energy, creativ­ ing new theme. The second movement is a ity, scope and innovation. The 'Eroica' sym ­ funeral march 'to the memory of a dead phony, no. 3 in E flat major, in 1803 opens hero'. It is in three sections - the dark, the middle period, which lasts until about brooding C minor opening, with the thud 1815. The middle period contains not only as if earth is being shoveled onto a grave; the lightening of the middle section in C maJor; and the return of C minor, Beethoven's most characteristic key for conflict. The third movement is no longer a minuet, but a speeded up triple-time movement, a scherzo, with Beethoven 's brusque, off-beat rhythmic accents. The finale opens with an abrupt scurrying in the strings, foll owed by a quirky theme in the lower strings. This turns out to be the bass of the fi nale melody, on which Beethoven builds the set of varia tions that crown this magnificent work.

Although Beethoven had lost much of his hea ring, he nevertheless played the solo part in the first performance of his third piano concerto in C minor, another work which shows conflict and drama. Beethoven had been deeply affected by a performance of Mozart's C minor piano concerto, but while Mozart had brought out the plangent quality of C minor, Beethoven emphasized in the outer move­ ments the dramatic qualities of the key, through opposition between the piano and orchestra in the opening of the first move­ ment, and by the contrast of this dramatic material with the lyrica l second subject in the key of E flat major. The middle move­ ment is an inward, lyrica l meditation which sets off the two dramatic outer move­ ments. Beethoven increased the range of the piano to use both the upper and lower registers and brings in to play striking con ­ trasts and a superb reso lution. BENEFACTORS

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