SPRINGSPRING CONCERTCONCERT

Conducted by: Dr. Jeff Jacobsen

Saturday, May 5th, 2012 at 7:00 p.m. Sarah Jane Johnson Church 308 Main Street Johnson City, NY 13790

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Dr. Jeffrey Jacobsen, Conductor Friends of the BCO:

Welcome to the final concert of our 2011-2012 Intrada Adolphus Hailstork season. We’ve had a good time working on the pieces you will hear today and hope you enjoy the Egloga R. A. Moulds performance.

We are setting up the next concert season and have Siegfried Idyll Richard Wagner a number of collaborative events in the works. The Board of Directors is always looking for ways to ~intermission~ improve the concert experience and I’m sure you will be pleased with their efforts. Symphony No. 1 in G minor Vasily Kalinnikov I’m looking forward to the next season and hope I. Allegro moderato II. Andante commodamente you will spread the word about the Binghamton III. Scherzo Community Orchestra. Bring your friends and IV. Finale neighbors to the concerts. We appreciate your support.

Sincerely, This program is made possible with public funds from the Jeff Jacobsen New York State Council on the Arts, which is administered by the Chenango County Council of the Arts, with support Music Director from Governor Andrew Cuomo and the New York State Legislature. Our Conductor Dr. Jeffrey Jacobsen Dr. Jacobsen is a sought-after conductor and clinician who has been invited to conduct orchestras at national and international music festivals and camps. He currently serves as Director of Orchestral Activities and Opera at Mansfield University of Pennsylvania and has Violin I Flute recently been appointed as Music Director of the Bing- Douglas Diegert, Concertmaster Beth Wiemann, Principal hamton (NY) Community Orchestra. He has conducted Peter Roseboom Heather Kriesel numerous All-State and All-Region Honor Orchestras in the United States and Maria Sanphy Betsy Bartz Canada as well as professional orchestras in Europe. Dr. Jacobsen served for five Joan Hickey Oboe seasons as the Music Director of the Orchestra of the Pines in Nacogdoches/ Michelle Swan Kathleen Karlsen, Principal Lufkin, Texas, and Director of Orchestral Activities and Opera at Stephen F. Aus- Kent Stannard King Wiemann tin State University. He founded and served as Music Director of the Blue Valley Violin II Chamber Orchestra, a regional orchestra in the Kansas City area. Jacobsen was Clarinet Linda Best, Principal affiliated with the Youth Symphony of Kansas City, initially as the Music Director Carol Smith, Principal Tamara Nist of the Symphonette and later as Music Director of the Philharmonic East Orches- Sean Denninger tra. He taught in public schools in Overland Park, Kansas, Boulder, Colorado and Marian Sanphy Williamsburg, Virginia. Lynn Aylesworth Bassoon Dr. Jacobsen's ensembles have performed at state music conventions, and Lee Shepherd Dana Gleason, Principal national and international music festivals. These same ensembles consistently Renee Hewett Melinda Lewis earned highest ratings at competitive festivals and, at several, Dr. Jacobsen was Jennifer Reyes Melissa DeWalt French Horn named outstanding director. He received the Mary Taylor Award for Excellence Beth Lewis, Principal in Classroom Teaching at Boulder High School and was featured twice on the Lara Rogan Jeff Barker KCNC-TV's "Teachers Who Make a Difference" series. Jacobsen was the Boulder Viola Kris Bertram Valley School nominee for the Sallie Mae National Teachers Award, received the Laura Hine, Principal Diana Amari Teacher Recognition Award from the University of Kansas, and was named the Mary Diegert David Banner Outstanding High School Orchestra Director for the Northeast District of the Kan- Shelley Zacks sas Music Educators Association. Trumpet Amanda Schmitz Michael Steidle, Principal Dr. Jacobsen received a Master of Science degree in music education with a secondary emphasis in performance from the University of North Dakota Cello Robert Crissman and a Doctorate of Music Education degree with a secondary emphasis in jazz Ruth Fisher, Principal John Ruth pedagogy from the University of Northern Colorado. Dr. Jacobsen was selected Emily Creo Jonathan Sorber for the American Symphony Orchestra League Donald Thulean conducting work- Joni Cermak Trombone shop with the Detroit Civic Orchestra. He was invited to the International Con- Stephanie Radzik Steven Hine, Principal ducting Workshop in the Czech Republic and has taken post-doctoral studies in Alicia Kuehn Raymond Avery conducting at Northwestern University, the Cleveland Institute of Music, and the Cecily O’Neil Dana Tirrell universities of Iowa, Illinois State and South Carolina. His instructors include Marianne Myers William LaRue Jones, Kirk Trevor, Mariusz Smolij, Kirk Muspratt, Tsung Yeh, Laura Pratt Tuba and Marvin Rabin. Loren Small As a professional musician, Dr. Jacobsen has served as principal bassist Bass of numerous ensembles, including the Tabor Opera Company (Denver) and the Elizabeth Bartlett, Principal Timpani Liberty Symphony Orchestra (Missouri). Jacobsen is currently Principal Bassist Nate Palmer Tim Roossien of Millennium Orchestra and a recording artist for Naxos and ERM. He per- Julian Shepherd Percussion formed on a regular basis in the jazz clubs of Williamsburg, Kansas City and Den- Andrew Hahn ver, and along with other members of the ensemble, received a Grammy Award Keyboard Adi Sagar nomination for the jazz recording "Hot IV." Nathan Raboy Program Notes Leyenda Mística I R. A. Moulds (b. 1958) (Mystic Legend I)

Intrada Adolphus Hailstork (b. 1941) Égloga: el Sauce que se enamoró de la Caricia del Viento, Op. 78, 2002

Adolphus Hailstork received his doctorate in composition from Michigan (Eclogue: the Willow that fell in love with the Wind’s Caress) State University, where he was a student of H. Owen Reed. He completed earlier studies at the Manhattan School of Music under Vittorio Giannini and David Dia- Contrary to the common scenario of a classic Hollywood composer bio- mond, the American Institute at Fontainebleau with Nadia Boulanger, and Howard pic, it is actually quite rare for a composition to flow from the composer’s pen University with Mark Fax. fully formed, like Athena bursting from Zeus’ head. In fact, the compositional histories of even the shortest pieces are often quite complicated, and this makes Dr. Hailstork has written in a variety of genres, producing works for cho- me wonder at times whether tracing the peripatetic childhood of even the greatest rus, solo voice, piano, organ, various chamber ensembles, band, and orchestra. His works is really a good idea. However, there is no denying that many listeners are early compositions include Celebration, recorded by the Detroit Symphony in very interested in these details, even for a work that stands undeniably on its own 1976; and two works for band (Out of the Depths, 1977, and American Guernica, without any back-history at all. 1983), both of which won national competitions. Consort Piece (1995), commis- sioned by the Norfolk Chamber Ensemble, was awarded first prize by the Universi- The first of my Leyendas Místicas began as the pastoral opening to Act 1 ty of Delaware Festival of Contemporary Music. of my incomplete opera, The Miracles of Monsanvierge, notated only in piano score, and probably destined to remain unfinished. Shortly after I stopped work- Dr. Hailstork’s works have been performed by such prestigious ensembles ing on the opera I became interested in writing a larger piece, but even at that point as the Philadelphia Orchestra, the Chicago Symphony, and the New York Philhar- I did not know what this new work would turn into, and certainly did not have a monic, under the batons of leading conductors such as James DePreist, Daniel Bar- portrait or a scene in mind when I began experimenting with orchestrating this enboim, Kurt Masur, and Lorin Maazel. Tonight’s piece, Intrada was commis- new work that was originally just meant to be an exercise in instrumental color. sioned by the Baltimore Symphony for its 75th anniversary. Until that time I had concentrated on keyboard, vocal, and chamber works, and

1999 saw the premieres of Dr. Hailstork’s Second Symphony, commis- was interested in seeing what I could do with a larger ensemble, although I delib- sioned by the Detroit Symphony, as well as his second opera, Joshua’s Boots, com- erately limited the palette so that the piece could be performed by both chamber and symphonic groups. missioned by the Opera Theatre of St. Louis and the Kansas City Lyric Opera. Dr. Hailstork’s second and third symphonies were recently recorded by the Grand Rap- The only part of Égloga that came from the abandoned opera is the open- ids Symphony Orchestra, under David Lockington, on a Naxos label disc released ing pastoral theme in E Major for two clarinets and low strings. The following in January 2007. episodes, which wander through several keys and modes, always returning eventu-

Recent commissions include Earthrise, a new large scale choral work ally to the opening melody, were newly composed for the piece. As is probably premiered by James Conlon and the 2006 Cincinnati May Festival, Three Studies not surprising, I have often been questioned about my adherence to what some on Chant Melodies for the American Guild of Organists 2006 National Conven- have called my “shockingly traditional” approach, but of course the truth is that I tion, and Whitman’s Journey, a cantata for chorus and orchestra, premiered by the vary my technique according to what I want to express. Personally, I think that as Master Chorale of Washington, D.C. (under Donald McCullough) at the Kennedy a composer in the 21st century, the ability to draw from, converse with, and refer Center in April 2006. Rise for Freedom, an opera about the Underground Railroad, to all the musical monuments of the past is one of the greatest gifts we have, and I premiered in the fall of 2007 by the Cincinnati Opera Company. Other premieres long ago resolved to refrain from what I have come to call “proscriptive musicolo- in the spring of 2008 were Serenade for chorus and orchestra, commissioned by gy,” which dictates what is and is not acceptable for contemporary composers. Michigan State University, and Set Me on a Rock, also for chorus and orchestra, Having said that, however, there is still much about Égloga that does not follow a commissioned by the Houston Choral Society. 19th century formula; the key scheme, for instance, is calculatedly eccentric. There is even one final twist at the end that still bothers some analytical purists, Dr. Hailstork, who has received honorary doctorates from Michigan State and even among the familiar melodies and chords which abound throughout there University and the College of William and Mary, resides in Virginia Beach, Vir- are some sly harmonic tweaks. All of this, of course, is meant to add interest and ginia, and serves as Professor of Music and Eminent Scholar at Old Dominion Uni- color to a landscape that should be familiar to most listeners, and was intended to versity in Norfolk. be so.

The question remains, then, how an essay in orchestration became an emotional—almost melancholy—tone poem with a long Spanish title. At around the same time that I stopped working on the opera (which, by the way, is set in As I awoke, my ear caught a sound, which swelled fuller and fuller; no France during the time of Jeanne d’Arc—about as un-Hispanic as anything could longer could I imagine myself to be dreaming: music was sounding, and be) I became interested in Spanish and Latin American music and literature, and such music! When it died away, Richard came into my room with the did quite a bit of investigation into the music of composers I had not previously children and offered me the score of the symphonic birthday poem. I was known before, particularly that of the Argentine composer Carlos Guastavino. in tears, but so was the rest of the household. When I finished what was to be Égloga and was searching for a name, my head The Idyll was a private and personal document, never intended for the ears of the and ears were still full of the melancholy, the magic realism, and the beauty that outside world. Only years later, under grim financial pressure and to the distress inhabits so much Latin American art and music, and with the pastoral nature of the of both Wagner and Cosima, was this music published – under the official title of original opera in mind, the selection of the word “eclogue” (a classical poetic A Siegfried Idyll. form, often a dialogue between two shepherds) was almost natural. With that in The Idyll’s first and principal theme is a beatific melody that precedes mind, I then cast about for two participants for the dialogue, and the romantic tone Brünnhilde’s words in the last act of Wagner’s opera Siegfried. A soft continua- of the piece itself more or less dictated the complete title of the Mystic Legend. tion from the opening theme leads to the old German cradlesong Schlaf, Kindchen, The composition has been recorded four times. The first recording was schlafe (Sleep, Little Child, Sleep) brought in very simply by the oboe. Is it only a made by the Moravian Philharmonic under Joel Suben, the second by the National coincidence that the lullaby consists of the notes of the Idyll’s first theme, but re- Saxophone Choir of Great Britain in an arrangement for saxophone ensemble that versed? Or is the opening theme derived from the lullaby? This is followed by was made shortly after I finished the original (and was premiered at the Edinburgh the woodwinds introducing another melody from Siegfried. All these melodic Fringe Festival in 2006), and the third by the Millennium Symphony with Robert structures work up to a brief climax which is suddenly cut off as a solo horn intro- Ian Winstin. Unfortunately, in all this time there had been no public performance duces the energetic theme associated in the opera with Siegfried as a young man. of the original version until I was honored by Dr. Jacobsen’s request to allow The song of the forest bird from Act II murmurs in the foreground and other Mansfield University’s symphony to play the piece, and that ensemble subsequent- themes from the opera are used to create another brief climax. Finally, the lullaby ly recorded the tone poem for the fourth time. returns and the close of the Idyll suggesting the approach of peaceful sleep. R.A. Moulds Baltimore, Maryland April, 2012 Symphony No. 1 in G minor Vasily Kalinnikov (1866-1901)

Kalinnikov might have developed a reputation to match those of the lead- A Siegfried Idyll Richard Wagner (1813-1883) ing Russian romantic composers of his day had he lived a normal lifespan. Unfor- tunately, the tuberculosis from which he suffered led him to spend the rest of his It is hard to believe that the composer who once felt love as a wild, de- short life in the warmth of the Crimea, at Yalta. Further complicating the sad ac- stroying passion, as the love-death of Tristan and Isolde, could ever have known count of his life is the family poverty which prevented him from getting the kind domestic bliss. But Wagner did enjoy a period of relative peace and domestic ful- of professional training that would have been called for as soon as his musical fillment. In November 1870, his heart overflowing with gratitude, he composed talent showed itself in his youth. Kalinnikov studied at the local seminary and (as a birthday present for his wife Cosima) the blissfully contented music we know took over the choir at the age of fourteen. Scholarship support allowed him to as A Siegfried Idyll. Here, love did not mean Tristanish night, death, and dreams; attend the Philharmonic Society School in Moscow, where he took lessons on bas- on the contrary, it meant dawn, birth, and reality. The music referred to their baby soon and had some composition lessons, though not with the leading figures at the son “Fidi” (Siegfried), but also to more intimate secrets in Richard’s and Cosima’s conservatory. Again, lack of funds forced him to leave the conservatory and work as an instrumentalist, playing bassoon, timpani, or violin in theater orchestras. past.

Cosima’s birthday fell on December 24th but she chose to celebrate it on Through his continuing composition, he attracted the attention of im- the 25th. In the Wagner household, this combined birthday and Christmas present portant people, including Tchaikovsky, who recommended him for appointment as was familiarly called Die Treppenmusick (The Staircase Music) because its first conductor at the Malïy Theater in Moscow and a year later at the Moscow Italian performance was played on the staircase of Villa Triebschen, their home on Lake Theater. This last appointment lasted only a few months before his health forced Lucerne. Wagner took the greatest precautions to be sure that the work and its him to leave Moscow for Yalta where he concentrated on composition. He was first performance were a complete surprise. Early on Christmas morning, 1870, helped by the young Rachmaninoff, who arranged for a leading Russian publisher fifteen players from Lucerne, whom Wagner had secretly rehearsed, assembled to acquire some of Kalinnikov’s songs and other works, providing a small, but steady income. silently on the little winding stairs of the Villa, with Wagner conducting at the top. Cosima was overwhelmed and wrote in her diary: During this period he composed his two symphonies, premiered in 1897 and 1898, respectively. The first symphony was an instant success and was soon performed in Vienna, Berlin, and Paris as well as Russia. It is the one work of Kalinnikov that remains firmly in the repertory today. As an admirer of the writer Turgenev and the way Russian life was portrayed in his novels, Kalinnikov want- ed to accomplish much the same sort of thing in his music without attempting a narrative style. His themes, while original, are designed to evoke elements of Russian folksong. Composers often find various ways to bind the movements of a sympho- ny. Beethoven used the famous motif that opens his 5th Symphony as a recurring comment throughout the work. Kalinnikov went further, using his opening melo- dy throughout all the movements of his Symphony No. 1; transforming it, altering it, disguising it in different contexts including using the melody as a harmony. Listen for the opening melody at the beginning of the first movement; it is repeat- ed three times to be sure we have it in our ears. Almost every major theme throughout the four movements is a variation or restatement of this opening idea. The first movement grows out of a melody with a typical Russian styling and is later heard in a vigorous, march-like mood. The second and third movements were both encored at the symphony’s premiere which shows their immediate at- tractiveness to the audience. The second movement, with its sadly sweet oboe melody and swelling answer in the strings, is one of the passages that is most rep- resentative of Kalinnikov’s supporter Tchaikovsky. The Scherzo is indicative of a lively Russian dance and returns to more melancholy material in the middle sec- tion. The finale recalls elements that have gone before – including the opening melody – combining these with new material to build to a triumphant finale.

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