college of fine arts administration Benjamin E. Juarez, Dean Robert K. Dodson, Director, School of Music Jim Petosa, Director, School of Theatre Arts Boston University Lynne Allen, Director, School of Visual Arts John Amend, Assistant Dean of Finance and Administration Tanglewood Institute Patricia Mitro, Senior Assistant Dean of Enrollment Stephanie Trodello, Assistant Dean of Development and Alumni Relations presents Laurel Homer, Director of Communications

BUTI administration Phyllis Hoffman, Executive and Artistic Director Shirley Leiphon, Administrative Director Lisa Naas, Director of Operations and Student Life David Faleris, Program Administrator Grace Kennerly, Publications Coordinator Manda Shepherd, Office Coordinator Young Artists Orchestra Mandy Kelly, Office Assistant Jensen Ling, Private Lessons Coordinator and Assistant to the Program Administrator Travis Dobson, Stage Crew Manager Steven Fulginiti, Paul Kinsman, Andres Trujillo, Matt Visconti, Stage Crew Shane McMahon, Recording Engineer Tito MuÑoz, conductor Xiaodan Liu, Piano Technician

Young Artists Orchestra Faculty and Staff Tito Muñoz, Conductor Ken-David Masur, Conductor Paul Haas, Conductor Mark Berger, Viola Coach, String Chamber Music Franziska Huhn, Young Artists Harp Program Assistant Director, Coach Michael Israelievitch, Percussion Coach David Krauss, Brass Coach, Brass Chamber Music Hyun-Ji Kwon, Cello Coach, String Chamber Music Hyun Min Lee, Cello Coach, String Chamber Music Kai-yun Lu, Winds Coach, Wind Chamber Music Laura Manko, Viola Coach, String Chamber Music Miguel Perez-Espejo Cardenas, Violin Coach, String Chamber Music Coordinator Saturday Brian Perry, Double Bass Coach, String Chamber Music Caroline Pliszka, Violin Coach, String Chamber Music Samuel Solomon, Percussion Coordinator and Coach July 13, 2013 Klaudia Szlachta, Violin Coach, String Chamber Music Hsin-Lin Tsai, Violin Coach, String Chamber Music 2:30pm Dan Bauch, Private Lessons Instructor, Percussion Ronald Haroutunian, Private Lessons Instructor, Bassoon Don Lucas, Private Lessons Instructor, Trombone Seiji Ozawa Hall Kevin Owen, Private Lessons Instructor, Horn Andrew Price, Private Lessons Instructor, Oboe Mike Roylance, Private Lessons Instructor, Tuba Linda Toote, Private Lessons Instructor, Flute Thomas Weaver, Staff Pianist Nikoma Baccus, Orchestra and Chamber Music Manager Debra Egan, Orchestra Librarian and Assistant Manager

DESIGN TEAM FOR SEIJI OZAWA HALL William Rawn Associates, Architect Lawrence Kierkegaard & Associates, Acoustician Theatre Projects Consultants, Inc., Theatrical Consultant Florence Gould Auditorium Seiji Ozawa Hall Support for the Boston University Tanglewood Tanglewood Institute is provided by: Young Artists Orchestra Tito Muñoz, conductor

Cowell Ancient Desert Drone

copland Suite from Billy the Kid

The Open Prairie Street in a Frontier Town Card Game at Night (Prairie Night) Gun Battle Celebration Dance (after Billy’s Capture) Billy’s Death The Open Prairie Again

~Intermission~

DvoŘÁk Symphony No. 8 in G major, op. 88

Allegro con brio Adagio Allegretto grazioso Allegro ma non troppo

In Memoriam

The Boston University Tanglewood Institute acknowledges with sadness the passing of Dr. Larry Jones on April 2, 2013. He was a devoted member of the BUTI Advisory Board. Larry’s love for music and This program is supported in part by awards from the Jack Kent Cooke Foundation, the Klarman Family his commitment to our young artists programs was evident in his constant presence here along with Foundation, the Surdna Foundation, the National Endowment for the Arts, the ASCAP Foundation his support for the work of his wife, Dr. Ann Howard Jones, for 17 years conductor of the Young Artists Irving Caesar Fund, Zildjian, and the Bose Foundation. Chorus. His leadership was exemplary for the planning of BUTI’s 40th anniversary celebration as was his consistently generous support for the scholarship fund. To honor him and all that he has meant to Yamaha is the official piano of the Boston University Tanglewood Institute, arranged in cooperation with Falcetti Music. BUTI, all performances for the 2013 season are dedicated to his memory with our abiding gratitude and affection. Tito MuÑoz, conductor

Boston University College of Fine Arts Tito Muñoz is increasingly recognized as one of the most gifted and versatile conductors of his generation. He was recently appointed Music Director of Le Poisson Rouge’s Ensemble LPR, the flagship ensemble of New York’s celebrated multimedia performance venue, dedicated The Boston University Tanglewood Institute is part of the educational and artistic pro- to the fusion of popular and art cultures in music, film, theater, dance, and fine art. He also grams of the Boston University School of Music. Founded in 1873, the School of Music serves as Music Director of the Opéra National de Lorraine and the Orchestre Symphonique et combines the intimacy and intensity of conservatory training with a broadly based, Lyrique de Nancy. Previous appointments include a three year tenure as Assistant Conductor of the Cleveland Orchestra and League of American Orchestras Fellow, and Assis- traditional liberal arts education at the undergraduate level and intense coursework at tant Conductor positions with the Cincinnati Symphony Orchestra and the Cincinnati Chamber the graduate level. The school offers degrees in performance, composition and theory, Orchestra. musicology, music education, collaborative piano, historical performance, as well as a An alumnus of the National Conducting Institute, Mr. Muñoz made his professional conducting certificate program in its Opera Institute, and artist and performance diplomas. debut in 2006 with the National Symphony Orchestra. That same year, he made his Cleve- land Orchestra debut at the Blossom Music Festival at the invitation of David Zinman. Mr. Founded in 1839, Boston University is an internationally recognized private research Muñoz continues to maintain a close relationship with the Cleveland Orchestra, where he has university with more than 30,000 students participating in undergraduate, graduate, returned to conduct annually, including a critically acclaimed subscription week, stepping in and professional programs. BU consists of 17 colleges and schools along with a number on short notice for Pierre Boulez. Mr. Muñoz conducted his first performances with the Joffrey Ballet and the Cleveland Orchestra in the summer of 2009. This successful collaboration led of multi-disciplinary centers and institutes which are central to the school’s research to further performances in the summer of 2010 as well as an invitation to tour with the Joffrey and teaching mission. The Boston University College of Fine Arts was created in 1954 Ballet in the 2010/11 season. In the 2012/13 season, he conducted the Cleveland Orchestra’s to bring together the School of Music, the School of Theatre, and the School of Visual first complete Nutcracker performances and in summer 2013 he leads the orchestra’s first Arts. The University’s vision was to create a community of artists in a conservatory- staged Rite of Spring, both with the Joffrey Ballet. style school offering professional training in the arts to both undergraduate and gradu- Mr. Muñoz has appeared with the symphony orchestras of Alabama, Atlanta, Cincinnati, Co- ate students, complemented by a liberal arts curriculum for undergraduate students. lumbus, Eugene, Hartford, Houston, Grand Rapids, Indianapolis, Kitchener-Waterloo, Phoenix, Since those early days, education at the College of Fine Arts has begun on the BU and San Antonio, among others. Other recent and upcoming engagements include return campus and extended into the city of Boston, a rich center of cultural, artistic and intel- performances with the Detroit Symphony, Pasadena Symphony, and Toledo Symphony, as well as subscription debuts with the Florida Orchestra, Naples Philharmonic, Sarasota Orchestra, lectual activity. and the Pacific Symphony. Festival appearances have included the Chautauqua Symphony and the Grant Park Orchestra. Following engagements in Europe with the Lausanne Chamber Orchestra and the Opéra de Rennes, Mr. Muñoz has upcoming debuts with the Danish Radio Sinfonietta, Deutsche Radio Philharmonie Saarbrücken, Luxembourg Philharmonic, and the Orchestre National de Lorraine. During the summers of 2004 through 2006, Mr. Muñoz attended the American Academy of Conducting at Aspen where he studied with David Zinman and Murry Sidlin and participated in master classes with Asher Fisch, Leon Fleisher, George Manahan, David Robertson, and Leonard Slatkin. He is the winner of the Aspen Music Festival’s 2005 Robert J. Harth Conduc- tor Prize and the 2006 Aspen Conducting Prize, returning to Aspen as the festival’s Assistant Conductor in the summer of 2007 and then as a guest conductor in summer 2011. Committed to working with young artists, Mr. Muñoz has conducted performances at the Cleveland Institute of Music, Oberlin Conservatory, the New England Conservatory, the Aspen Music Festival, and the Kent/Blossom Music Festival. In the fall of 2010, he led a nine city tour with the St. Olaf College Orchestra. Additionally, he has had an ongoing relationship with the Cleveland Orchestra Youth Orchestra and the Portland Youth Philharmonic and has worked with conducting students both at the American Academy of Conducting at Aspen and the Cleveland Institute of Music. Engagements in the 2012/13 season include Indiana University, the Royal Conservatory of Music in Toronto, the New World Symphony, Music Academy of the West, and the Boston University Tanglewood Institute. An accomplished violinist, Mr. Muñoz began his musical training in the Juilliard School’s Music Advancement Program, continuing studies on violin and composition at the Manhattan School of Music Preparatory Division. He attended Fiorello H. LaGuardia High School of Music & Art and Performing Arts, and was a member of the InterSchool Orchestras of New York and New York Youth Symphony, where he also served as Apprentice Conductor. He furthered his training at the Aaron Copland School of Music, Queens College, as a violin student of Daniel Phillips. Program Notes Boston University Tanglewood Institute HENRY COWELL (1897–1965) Ancient Desert Drone The Boston University Tanglewood Institute is a program within the School of Music in Henry Cowell was one of the most innovative and influential American com- the College of Fine Arts at Boston University. posers of the twentieth century. Born in Menlo Park, California and home- schooled by his anarchist parents, Cowell was recognized as an exceptionally In 1966, educational programs at Tanglewood were extended to younger students of high-school age, when invited the Boston University College of Fine gifted child, studying violin, mastering piano, and reading extensively at a Arts to become involved with the Boston Symphony Orchestra’s activities in the Berk- young age. At the age of seventeen, Cowell began formal music studies with shires. the theorist, musicologist, and composer Charles Seeger. While under Seeger’s care, Cowell was exposed to cutting edge compositional techniques from Today, the Boston University Tanglewood Institute, in its unique association with the Europe and the United States, and in 1930 published New Musical Resources, a Boston Symphony Orchestra and the Tanglewood Music Center, is recognized inter- groundbreaking text which has since become one of the most significant guide- nationally as an outstanding educational opportunity for young artists. Under the books of twentieth century music. guidance of dedicated, established professionals, and in the constant presence of the Boston Symphony Orchestra, young people devote themselves each summer to an Cowell invented various techniques at the piano such as playing directly on the artistic experience without parallel. strings inside the instrument, what he referred to as the “string piano.” He an- ticipated the work of composers Nancarrow, Carter, and Stockhausen through the development of a systematic ratio of pitches of the overtone series to YOUNG ARTISTS PROGRAMS rhythmic proportions. He is also the father of the “tone cluster,” dense chords Young Artists Orchestra and Chamber Music Program comprised of dissonant intervals. Bartok even wrote to ask Cowell’s permis- Young Artists Vocal Program sion to use this new technique in his music. Beyond compositional innovations, Young Artists Wind Ensemble and Chamber Music Program Cowell expanded the realm of performance practice, bringing into effect the Young Artists Piano Program use of the player piano and an instrument called the “Rhythmicon,” constructed Young Artists Composition Program with the assistance of Russian inventor Leon Theremin, in order to showcase Young Artists Harp Program works and concepts that Cowell considered rhythmically impossible for hu- mans to play. INSTITUTE WORKSHOPS Not only was Cowell an extraordinary pianist, touring extensively in the United States, Europe, and the Soviet Union, but he was also a strong advocate of Flute Workshop Saxophone Workshop Tuba/Euphonium Workshop twentieth century American music, publishing scores and recording works Oboe Workshop Horn Workshop Percussion Workshop Clarinet Workshop Trumpet Workshop Double Bass Workshop of experimentalist composers including Ives, Varese, and Crawford. Having Bassoon Workshop Trombone Workshop String Quartet Workshop grown up in the Bay Area alongside a large Asian community, Cowell explored music of other ethnicities. He learned to play and composed for several Asian instruments, such as the shakuhachi, a bamboo flute originated in Japan, as well as Javanese and Balinese gamelan instruments. Many of his works feature western techniques distinctly juxtaposed with non-western musical traditions For further information about auditions and program offerings, please contact the BUTI and compositional styles from Asian and Middle-Eastern cultures, as well as office, 855 Commonwealth Avenue, Boston, MA 02215, or visit our office on the Tan- American folk tunes. glewood Main Grounds. Please call (617)353-3386 or (413)637-1430 (July-August). You may also contact us via e-mail at [email protected]. Ancient Desert Drone was completed in 1940. Cowell guest conducted the first Website: http://www.bu.edu/tanglewood part of the piece at the Ernest Williams Orchestra and Band Camp in Sau- gerties, New York on August 17, 1940. On January 12, 1941, Percy Grainger, Boston University Tanglewood Institute to whom the score is dedicated, conducted the first complete performance upcoming events with South Bend Symphony Orchestra at John Adams High School in South Bend, Indiana. Brief, mimeographed program notes from a high school perfor- Sunday, July 14, 2:30pm Young Artists Wind Ensemble mance of Ancient Desert Drone from the end of the decade comment on the David martins, conductor “mysterious oriental melodies, based usually on whole tone patterns and odd Seiji Ozawa Hall intervals. The monotonous droning bass and primitive rhythms accompany- Friday, July 19, 3:00pm Young Artists Wind Ensemble ing the melodies intensify the Eastern charm and transport us to the Arabian Student Chamber Music Recital desert where we see a caravan of merchants traveling wearily to exhibit and Chamber Music Hall trade their wares at a Baghdad Festival.” For a performance by the National Saturday, July 20, 11:00am Young Artists Piano Program Symphony Orchestra in Washington D.C. on March 10, 1946, E. Lee Fairley, Student Recital author of publications for the NSO, interviewed Henry Cowell and printed the West Street Theatre composer’s reply about the piece: “If anyone cares to use Ancient Desert Drone Sunday, July 21, 7:00pm Faculty Recital Series as a point of departure they are welcome to do so, but I did not have a program Axiom Brass Quintet in mind when I composed this work. There is not much to say except that the Trinity Church note D is used as a drone.” Tuesday, July 23, 7:00pm Faculty Recital Series vento Chiaro Despite Cowell’s humble remarks about the piece, Ancient Desert Drone evokes Trinity Church an imaginative landscape. The exotic scene outlined in the mimeographed Wednesday, July 24, 6:00pm Young Artists Orchestra and Wind Ensemble notes reflect Cowell’s interest in Asian and Middle-Eastern music and culture. Student Percussion Recital The work opens with a wandering oboe melody, searching higher and higher, West Street Theatre then doubling back. The grace notes adorning the solo line make the music lilt Friday, July 26, 6:00pm Faculty Recital Series and cry. A shimmering drone on the note D held in the strings serves as the BSO Brass Quintet palate for an effortless shift in timbre from oboe to trumpet taking over the Trinity Church melodic line. With the purity of the brass in place, woodwinds flourish around Saturday, July 27, 11:00am Young Artists Piano Program the soloist and the drone becomes more present. Finally, after an initial attempt Student Recital to break free, the upper strings flare in a unison outburst with fiery commen- West Street Theatre tary from the low strings. This gives way to an expansive, passionate fervor that Saturday, July 27, 2:30pm Young Artists Orchestra and Chorus opens upward to an intensified D drone, still in the strings. As the brass and Ken-David Masur, conductor strings fade, the woodwinds dance up and down in scalar motion like the last Tanglewood Theatre licks of flame, and the return of the shimmering, quiet drone is a fleeting mirage Sunday, July 28, 11:30am Young Artists Wind Ensemble in the distance. Student Chamber Music Recital –Grace Kennerly West Street Theatre Sunday, July 28, 8:00pm Young Artists Wind Ensemble H. Robert reynolds, conductor Aaron Copland (1900–1990) Tanglewood Theatre Suite from Billy the Kid

For more information on our events, please contact our office at (413) 637-1431. Aaron Copland, one of the most beloved composers of the Twentieth Cen- tury, cultivated a distinct musical style that has become synonymous with the West Street Theatre, 45 West Street, Lenox, Massachusetts Chamber Music Hall, Tanglewood Main Grounds American landscape. Born in , New York and the son of Jewish immi- Seiji Ozawa Hall, Tanglewood Main Grounds grants, Copland forged what he called “a naturally American strain of so-called Tanglewood Theatre, Tanglewood Main Grounds serious music” by melding folk songs, popular music, and jazz influences. Trinity Church, 88 Walker Street, Lenox, Massachusetts Breaking free of the European traditions of western classical music, Copland was a true iconoclast, so much so that his music is not only unmistakably American, but also unmistakably Copland. In sync with his desire to create a The Alabama Friends of BUTI vernacular style for his compatriots, his career went far beyond composition— BUTI salutes the Alabama Friends, a dedicated group Allen Morrison of volunteers from the Montgomery Symphony, who Michael Mucci he was also an educator, a writer, a conductor, and an advocate for new Ameri- demonstrate their passion for classical music and arts Joan Nelsen can music. education by providing annual BUTI scholarships to stu- Michael and Jeanne Payne dents from Alabama. BUTI is also honored to participate Michael Ritzen annually in the Montgomery Symphony’s prestigious Barbara Rosenfelt Copland’s career truly blossomed when Serge Koussevitsky, director of the Blount-Slawson Young Artists Competition. Henry Salz Kevin Schmidt Boston Symphony Orchestra for over twenty-five years, premiered his Sympho- 2013 Alabama Friends Alan Schulman ny for Organ and Orchestra in 1924. From there, the two men developed a close Harold and Jane Albritton Samuel Schulman John Bullard Gabrielle Shatan friendship, with Koussevitsky performing twelve of Copland’s works during his Dorothy Cameron Paul Shimer tenure as conductor of the ensemble. Additionally, as founder and director of Edith Crook Barbara Simkin the Tanglewood Music Center, Koussevitsky appointed Copland head of the Dr. and Mrs. Benjamin Cumbus David Solomkin Dorothy DiOrio Hugh Taylor composition department. Upon Koussevitsky’s retirement in 1949, he entrusted Eileene Griffith Harry Thomas the continued development and growth of the festival’s programs to Copland, Carol L. Hodges Henry Walker Marian Kent Stephen Wittenberg along with Leonard Bernstein and the new director, Charles Munch. Anne King Samuel Zilka Joan Loeb Dae Miller In honor of his outstanding support of young musicians and his service as an Mr. and Mrs. Jerome T. Moore Jr. educator, the music library located on the Tanglewood Music Center main Maurice and Peggy Mussafer *This list represents friends who supported the Bos- grounds is dedicated to Copland’s name. Furthermore, for the festival’s 75th Winifred and Charles Stakely ton University Tanglewood Institute between July 1, Helen Steineker 2012 and June 30, 2013. anniversary in 2012, composer John Williams funded a multi-year project to Mimi Thompson reveal installations honoring iconic music figures from Tanglewood’s past. The Janet Waller If you are interested in joining the Friends of BUTI first of the series was a statue memorializing Copland’s legacy to be followed please contact Kelsey Mussler, Development As- The Kenneth L. Broad Memorial Scholarship Fund sociate, at 617-353-5544 or [email protected]. You by those of Bernstein and Koussevitsky. The Kenneth L. Broad Memorial Scholarship Fund awards a half-scholarship each year to a promising young may also make a gift online at bu.edu/giving. baritone in the Young Artists Vocal Program. Founded In the 1930s, Copland began composing music for ballet, ultimately filling the by Laura Broad in 2009, in memory of her husband – a gifted baritone and passionate supporter of the arts and void for American choreographers looking to establish a nationalistic dance arts education – the fund is replenished each year by gifts Advisory board of the repertory. With the premiere of Billy the Kid in 1939, Copland told the story of from members and friends of the Broad family. Boston University Tanglewood Institute William Bonney, legendary outlaw of the Wild West. Transporting audiences 2013 Kenneth L. Broad Memorial Scholarship Donors to a world of the past, Billy the Kid is, through and through, a quintessentially Esther-Ann Asch Copland work of art, from the sweeping landscapes depicted by broad harmo- Robert Barnes Judith Belsky Richard Balsam nies and orchestration down to the slapstick smacks of gunshots and irregular James Bobo Emily Borababy rhythms of drunken dancing. Hester Broad Laura Broad Chester Douglass, Chair Martin Broder Wilbur Fullbright The ballet suite, performed on its own as a concert piece, inspires no less the Herta Carlin Richard Grausman Allison Cates imaginations of audiences despite parting with the spectacle of dancers on Richard Coffey Susan Grausman stage. The work unfolds with the spacious “Open Prairie” theme, conjured by Gilbert and Norma D’Oliveira Ellen Highstein Rachel Donner Ellen Kazis-Walker woodwinds and then, one by one, the strings, brass, and percussion. The town Donald Evans awakes, and we find ourselves on a “Street in a Frontier Town” (piccolo). Frag- Melvin Ginsberg Lucy Kim ments and variations of American folk tunes swirl around the busy street, until Lynne and David Harding Maureen Meister Randie Harmon Joy McIntyre we join Billy and his mother to watch some of the town’s women dance the Jacqueline Kingston Jarabe, a Mexican dance illustrated by a festive trumpet solo. Suddenly, with John Lenard Beth Morrison Ann and Ben Mazotas Michael Nock the wobbliness of the low brass and percussion, two drunks interrupt the happy Peter McCallion Charles A. Stakely Stephen Moore scene. A quick escalation in the men’s tempers collides with the regular, calm Winifred Stakely 3/4 meter until a gunfight breaks out, complete with cracks of the slapstick. In Lynn and Paul S. Morris Friends of the Boston University Tanglewood Institute the crossfire, Billy’s mother is killed. Accompanied by the bass drum and low BUTI gratefully acknowledges the alumni, parents, friends, foundations, and corporations who provided strings, the boy moves fast as lightening, drawing a knife and avenging his loss, full and partial scholarships to our gifted young artists, as well as resources for new initiatives and special forever making him an outlaw. programs, for the 2013 season.*

$100,000 and above Lucy Kim and Matthew Guerrieri We find Billy, a few years later, playing cards with his gang under the moon- Jack Kent Cooke Foundation Phyllis and Harvey Klein Klarman Family Foundation Joseph Kress light on a slow, serene “Prairie Night.” The game goes south when the sheriff’s Nelliana Kuh posse shows up erupting into an ear-splitting, percussive “Gun Battle.” With $10,000 - $99,999 Robert Lea Clovelly Charitable Trust Paul Marshall Billy’s capture, the lawmen enjoy a drunken “Celebration” complete with jovial National Endowment for the Arts Dana and Yuri Mazurkevich woodwinds. The music shifts to a lamenting violin solo over contemplative, soft Surdna Foundation Peter McCallion Gaelen McCormick strings, quietly fading away to reflect on “Billy’s Death.” With Billy’s end comes $1,000 - $9,999 Maryjane Minkin a new beginning, and the expansive “Open Prairie” draws a poignant and pow- ASCAP Foundation Irving Caesar Fund Shawn Morrissey erful close to this tale from the American frontier. John A. Carey Roger Murray Chester and Joy Douglass Sandra Nicolucci –Grace Kennerly Mr. and Mrs. Peter Eliopoulos Robert Pease City of Fairfax Band Association, Inc. Arthur Post David Feigenbaum and Maureen Meister Benjamin Rudnick Leah Y. Fullinwider Sherri Rudnick AntonÍn DvoŘÁk (1841–1904) Ann and Gordon Getty Foundation Harvey and Justine Schussler Symphony No. 8 in G major, op. 88 Susan and Richard Grausman Emma Shook Phyllis and Robert Hoffman Georgia Shutzer Ellen Kazis-Walker Christine Standish Dvořák’s eighth symphony was written in less than a month and is regarded Owen Kelley Bonnie Steele by many as the greatest of his nine. At the time of the composition, Dvořák Kenneth D. Rudnick Douglas Stumberger William and Roswitha Trayes Patrick Szymanski said that he wanted “to write a work different from my other symphonies, with The Ushers & Programmers Fund Rosalen Vineberg individual ideas worked out in a new manner.” Formally the work follows the Ellen and John Yates Up to $99 classical pattern, and has obvious influences from Beethoven in the second and $100 - $999 Anthony Accinno fourth movements, however the use of harmony and melody depart from ear- Deborah Aaron and Jay Cantor Jennifer Andrews lier models, and create a work of great originality. Most notably Dvořák makes Jeffrey Auerbach Naomi Atkins Robert and Barbara Balliett Leslie Boden use of simple folklike melodies, with a Czech character, but weaves them into a Daniel Balsam Jean Boglages coherent form through very subtle development. Jeffrey Bickerstaff Kathleen Boyd George Borababy Katherine Canning Sandra Brown Bianca Carter Many writers have described the symphony as a “sunny” work, but in truth it Deborah Burton Joseph Cerroni Mr. and Mrs. Salvatore Cania Serena Chao is much more than that. There are passages of drama, exhilaration, happiness Jane Carlson David Cohen and nostalgia. Overall it is a work that evokes a wide range of human emotions Xu Chen Donna Convicer Marjorie Clement Robert Fishman and is yet profoundly optimistic. Some writers have found in the symphony a Mitchell Cohen Marie Francoeur nostalgic longing for childhood, created partly by the simplicity of the melodic Eric Cortell Barbara and John Gordon material and partly by the orchestration. Dvořák had three children who did not Bruce Creditor Sally Jones Emily and Michael Culler Amy E. Kawa survive to adulthood, and it is quite likely that some of the sadder, reflective Robin Dull Craig Knox passages in the work express the emotions associated with his dark past. Kathleen Dennis Faleris David Kopp Allison Fultz Barbara Kotler Susan and Edward Goldstein P. and Winnie Lamour At the time, the key of G major was considered inappropriate for a symphony, Deborah Grausman Carol and Joseph Lonero Marian and Peter Hainsworth Donald and Marjorie Mendelsohn since it was largely associated with popular or rustic music. No major compos- Lynne and David Harding Elizabeth Morrison er had written a symphony in G major since Haydn. Dvořák’s choice of key was Scott Himes Daniel Palant Dmitri and Elena Ilyin Laurie Ramsey probably made deliberately to reinforce his use of simple folk music. Interest- Larry G. and Ann Howard Jones Carl Saslow ingly the next major composer to write a symphony in G major was Mahler Rochelle Kainer Laura and Guy Shechter who, in his fourth symphony, perhaps influenced by Dvořák, associates the key Yumi and Jared Klein Ira Taxin Jill Kessler Alan Whitney with childhood. The first movement opens with a beautiful minor melody played on the cellos Young Artists Orchestra and winds. It functions a little like a slow introduction, and recurs throughout Violins Cello Bassoon the movement outlining the formal structure. The movement is in sonata form Ilya Kim, concertmaster §+, Tyla Axelrod, East Setauket, NY Harrison Miller, New Canaan, CT Loganville, GA Georgia Bourderionnet #, Kyle Olsen §, Tigard, OR with an energetic first subject, and a more relaxed second subject in the key Melody Sim, concertmaster #, New Orleans, LA Rachel Parker #, AnnArbor, MI of B minor. In contrast to classical models the exposition is not repeated, and Montgomery, AL Anna Byington, West Islip, NY Ross Roberts +, Orange Beach, AL Rebecca Edge, principal 2nd §+, Aoma Caldwell, Randolph, NJ the development section is greatly extended. Dvořák uses great ingenuity Winter Park, FL Eliot Haas, Shreveport, LA Horn both in his orchestration and his use of harmony to continuously build ten- Kenyon Alexander, principal 2nd #, Ryan Hintzman, Oak Hill, VA Joseph Cradler #, Fairfax, VA Wellesley, MA Erica Ogihara, Pinecrest, FL Jonathan McCammon §, Naperville, IL sion throughout the development reaching a stormy climax where the open- Didi Park, Falls Church, VA Shaun Murray, Palm Beach Gardens, FL ing melody is played fortissimo by the trumpets and accompanied by furious Phoenix Abbo, Dallas, TX Eddie Pyun, Kennett Square, PA Rachel Nierenberg +, New York, NY Donna Bacon, Albuquerque, NM Jeremy Steele, Seattle, WA Scott Reid, Herndon, VA chromatic scales in the strings. The recapitulation is short and contains many Ana Barrett, Irvington, NY Yuta Takano, Ramsey, NJ Lorenzo Robb, Santa Monica, CA Sophia Bellino, Poughkeepsie, NY Joseph Teeter §+, Topeka, KS new developmental ideas. In contrast to its subdued beginning, the movement David Brill, Orlando, FL Naomi Tran, Mercer Island, WA Trumpet ends in a blaze of energy. Hannah Chou, Fremont, CA Michael Chen, Herndon, VA Christa Cole, Boise, ID Bass Elisabeth Lusche #, Auburn, AL Naomi D’Amato, Duncanville, TX Nicholas Arredondo, Vancouver, WA Olivia Pidi §, Dumont, NJ The second movement opens with a solemn passage in the key of C minor. Isabel Espinosa, Malden, MA Evan Bish #, Poughkeepsie, NY Julie Tsuchiya-Mayhew +, Carling Hank, Chicago, IL Brendan Carillo, Waco, TX St. Louis, MO The dark mood eventually lifts like a morning mist, and the main theme of the Itsva Hernandez, Roslindale, MA Seth Davis, Austin, TX movement appears in the warm key of C major, played by the winds and ac- Emily Kerr, Ridgefield, CT Harrison Dilthey, North Adams, MA Trombone Seoyeon Kim, Falmouth, ME Lena Goodson §+, York, PA Nicholas Kemp +, McLean, VA companied by delicate descending scales in the strings. In the central section Eliana von Krusenstiern, Brookline, MA Rebecca Lawrence, Seattle, WA Lena Piazza-Leman §#, St. Louis, MO the movement grows in strength and grandeur, like the midday sun, to a mag- Andrew Langman, Lebanon, NJ Noelle Marty, Lexington, MA Jahleel Smith, Atlanta, GA Adam Lefkowitz, Los Angeles, CA Anna Mowat, Hong Kong, HK nificent climax. Following this, a dark passage in the key of C minor disturbs the Aaron Levett, West Bloomfield, MI Paris Myers, Gilbert, AZ Tuba tranquility with angry detached chords, but this momentary storm is dispelled Elizabeth Merrifield, Setauket, NY Austin Comerford, Sturbridge, MA Fumika Mizuno, Tigard, OR Flute by the return of the sunny main theme, this time played by the strings with the Benjamin Motter, Williamsburg, VA Stephen Barton §, Tallahassee, FL Timpani JoAnn Nam, Phoenix, AZ Abigail Easterling #, Grapevine, TX Taylor Hampton §, Gastonia, NC descending scales in the woodwinds. Ellen Ogihara, Pinecrest, FL Olivia Staton +, Vienna, VA Grant Hoechst #, McLean, VA Nicole Porcaro, Poughquag, NY Henry Woolf, Fresno, CA Daniel Raderman +, Trent Ransom, Farmington, CT Winston-Salem, NC The third movement is a scherzo and trio. The scherzo is in G minor and is built Molly Schneider, Clear Spring, MD Piccolo of a beautiful lyrical melody tinged with a profound sadness. The movement Erika Studney, River Forest, IL Abigail Easterling, Grapevine, TX Percussion Alexander van der Veen, Palo Alto, CA Antonio Guarino, Severna Park, MD has great poise and elegance, and is propelled forward with excitement and Oboe Taylor Hampton, Gastonia, NC vitality created by Dvořák’s subtle changes in harmony, phrasing and dynam- Viola Andrew Blanke, Inman, SC Grant Hoechst, McLean, VA Anders Cornell, Plymouth, MN Liam Boisset §, Pleasant Hill, CA Greg LaRosa, Downington, PA ics. The trio forms a strong contrast to the scherzo being in the major mode, Alexandria Danyluk, Stockbridge, MA Casey Kearney +, Yorktown Heights, NY Daniel Raderman, Winston-Salem, NC and based on a very simple melody full of childhood innocence. The movement Jacob Dziubek, Southington, CT John Uchal #, Highland Village, TX Shannon Elliott, Simpsonville, SC Piano ends with an unusual coda, based very loosely on the trio, but dispelling any Nicholas Gallitano, Chestnut Hill, MA English Horn Thomas Weaver *, Marlton, NJ Rochelle Heinze, Shrewsbury, MA Liam Boisset #, Pleasant Hill, CA sense of sadness with raucous energy, though finishing on a subdued chord. Sarah Lamour, Brockton, MA John Uchal §, Highland Village, TX Harp Andrew Lavelle, Houston, TX Eleanor Denison, Andover, MA Carol Lee, Dix Hills, NY Clarinet Phoebe Durand McDonnell §+, The final movement is announced by a brilliant trumpet fanfare. As in the first Tal McGee, Spring, TX Barrett Ham #, Macon, GA Bar Harbor, ME movement the cellos introduce the main theme, this time in the home key of Clara McMahon, Saratoga, CA Peter Jalbert, Stafford, TX Jeremy Tonelli-Sippel §+, Andrew O’Donnell +, Fayetteville, NC G major. The movement is in variation form, but with the structural innovation Whitinsville, MA Colin Roshak §, Natick, MA that the theme and second variations recur as they would do in a rondeau. The Alexandra Wilson #, Wellsville, UT Dawn Wu, Franklin, TN § denotes principal in Cowell first variation is a tentative elaboration of the theme, but the second is wildly Derek Yeung, Dix Hills, NY + denotes principal in Copland exuberant with thrilling trills from the horns. The following variations create # denotes principal in Dvorak * denotes BUTI staff member a range of moods. There is simple “music box” version from the flute, a stark march in the minor mode, then later a sad reflective yearning variation from the strings. In the end though, it is the exuberant second variation that returns and is extended into a coda of vibrant energy. –Portobello Orchestra Several auxiliary instruments used in tonight’s concert are on generous loan from the Boston College Bands Program.