Andrea Waxman and John F. Campion Mary Ann Marfia Lehigh University Music Department presents Charles Carey Joann J. and Martin A. Matijasich ‘71 Fred Crawford Deanne Matos Carol Cyriax Cathy and Ronald D. Morosky Current Concepts-Home David Myers Automation Specialists Kerri Nigito Peter Dectis Karen S. and Nicholas Noel III ‘74 Sandra J. and James T. Edmiston ‘93P Nancy B. and Warren A. Norris, Jr. ‘79G Lehigh University Beverly and Thomas Eighmy David Packman Laurie Eisenberg Barbara Pearson James Elias Dorothy Pettit-Rute Philharmonic Orchestra Anne M. and A. Craig Evans Janice A. Phillips F/S James Elias Margorie Raschke Richard Fenton Barbara A. ‘78G and Michael Reiniger Brenda and Eduardo E. Fernandez Bob Renkert ‘85 ‘14P ‘16P Emma Reynolds Joan and Joseph D. Feskanin ‘57 ‘82P Kim Ring Old World Gerry Ann and Eric L. Flicker ‘71 ‘77G Lois M. Roberts Holli M. Warholic ‘01 and Sheila and Stanley Rodgers Dennis M. Freed ‘03 Michele Royce Reta Geld George D. Ryerson ‘55 Margaret and Daniel Z. Gerhart ‘67 Kathryn Schnall ‘14 Victoria G. and Harris M. Gratz ‘85 ‘15P Sara ‘73G and Bernard H. Schonbach ‘80G England and Judith Haase Jean M. Seibel Tom and Debby Harbin Tiffany Shanker Nicolette Hart Anita and Thomas D. Shannahan, Jr. ’53 ‘79P ‘11GP Brooke R. Hartman, Jr. ‘54 ‘81P LuAnn and Richard W. Silberg ‘81 ‘82G Carla and David L. Heine ‘74 Deborrah Groth and John F. Sise ‘72 Marie E. Helmold ‘81 Karen L. and Glenn S. Skola ‘78 ‘05P ‘06 Russia Linda and James L. Henry Richard C. Smith ‘55 ‘04GP Janice O. ‘78G ‘88G and Robert Henson Linda St. Charles Patricia F. ‘F/S and William L. Hoppe ‘65G Martin Staff Susan L. ‘93 and Stephen K. Hydro ‘93 John W. Stemler Eugene Albulescu, conductor Virginia and Thomas E. Jensen ‘56 ‘60G Marjorie Stevens ‘48W Sally and David Keehn Julia and Bruce C. Swan ‘68G Deb and Tom Keller Aurelie Thiele ‘F/S Pam Pepper ‘F/S and William Kreider Froy and Richard R. Thompson , , guest soloist Jacqueline R. Kuba Jane and William H. Trotter ‘67 William La Bruna, Jr. Mary Trubek Brenda A. Lamarca ‘87 ‘95G Stephanie Tyrell Christopher Collins Lee, Gloria and Antoine P. Latour ‘53 Sonja and Clinton Walker Jean C. and Robert H. Littner ‘53 ‘83P ‘13GP Sally and Larry A. Wehr ‘70 ‘70G Ronald J. Ulrich concertmaster-in-residence Nicole and James A. Longbons ‘96 Sam Wood Debbie L. Wesselmann-Lopresti ‘F/S and Thomas Wood Daniel P. Lopresti ‘F/S Jill Bortz Yannarell and David A. Yannarell ‘83 ‘93G Pat and Tucker Lyons ‘07P George Yanoshik

^deceased Friday & Saturday, November 2 & 3, 2012 8:00 pm Baker Hall List complete as of October 8, 2012 Zoellner Arts Center Report errors or omissions to [email protected] or call (610) 758-5071

16 1 Welcome to Zoellner Arts Center! Lisa A. and Kevin L. Clayton ‘84 ‘13P Dr. Marilyn McDonald We hope you will take advantage of all the facilities, including Baker Hall, the Diamond and Black Emmeline Dimmick ‘76G Margaret F. Plympton ‘F/S Box Theaters, as well as the Art Galleries and the Museum Shop. There are restrooms on every floor Gloria and John S. Dobrota ‘61 ‘86P Sally and Raymond E. Reusser ‘67G and concession stands in the two lobbies. For ticket information, call (610) 7LU-ARTS Kathy A. Liss-Drew ‘75 and Jerry I. Drew ‘96P Linda Robbins (610-758-2787) or visit www.zoellnerartscenter.org. Michelle V. and James J. Duane III ‘73 ‘04P ‘06P Janet M. Shahan Nora A. and Mohamed S. El-Aasser ‘F/S Alberta M. Albrecht and T To ensure the best experience for everyone, please: Marlene and Arnan Finkelstein ‘58 homas M. Siemiatkoski • Bring no food or drink into any of the theaters Marlene O. ‘03H and Caroline and Leslie H. Sperling ‘F/S • Refrain from talking while music is being performed W. Beall Fowler ‘59 ‘84P ‘89P ‘F/S Pamela ‘F/S and Thomas Steigerwalt • Refrain from applause between movements Susan F. ‘77G and Robert E. Gadomski Martha Marchena and Ricardo Viera ‘F/S • Do not use flash photography or recording devices Linda L. and Peter M. Gilbert ‘F/S Melody K. ‘81G and • Turn off all pagers and cellular phones Donald E. Hall ‘F/S Richard N. Weisman ‘00P ‘F/S • Turn off alarms on wrist watches Marsha and Tom Hersh ‘72 ‘77G Virginia L. ‘71G ‘F/S and • Do not smoke anywhere in the facilities Linda and Richard W. Hertzberg ‘65G ‘F/S Robert C. Williamson ‘79P ‘84P ‘F/S Dr. Herbert C. and Sherrill Hoover, Jr. MUSIC DEPARTMENT STAFF Julia E. Klees ‘82 Patron Professors - Paul Salerni, Steven Sametz, Nadine Sine (chair) Sook H. and Yong W. Kim ‘F/S Joan T. Bauer Associate Professors - Eugene Albulescu, William Warfield Kathleen and James C. Kranz ‘70 ‘71G Cyndy ‘F/S and David Brinker Professors of Practice - Sun Min Lee, Timothy Schwarz Marie T. and Charles J. Luthar ‘66 ‘73G ‘11P Madeline and Bob Brown Lecturer - David Diggs Valerie Livingston and Charles E. Lyman ‘F/S Irene and William R. Brown Adjuncts/ Private Instructors - Deborah Andrus, Helen Beedle, Daniel Braden, William Burden, Justin K. McCarthy ‘50 Roy A. Gruver ‘69 ‘F/S Bob DeVos, Megan Durham, Debra Field, James Finegan, Scott Force, Susan Frickert, John Brenda Johnson-McGovern and Lynne B. and Leon M. Harbold ‘59 Gaffney, Linda Ganus, Christopher Gross, Tom Guarna, Tim Harrison, William Holmes, Vic Robert M. McGovern, Jr. ‘60 Kenneth D. Hendrix ‘55 and Juris, Emi Kagawa, Robin Kani, Steve Mathiesen, Donna McHugh, Joe Mosello, Sandhya Linda and Michael R. Miller Patricia K. Girke ‘55W Murthy, Scott Neumann, Albert Neumeyer, Patricia O’Connell, Sharon Olsher, Rebecca Owens, Katherine M. Rando and Constance L. Houser-Wenzel Gene Perla, Irmgard Pursell, David Riekenberg, Dominick Rodriguez, Kim Seifert, Tim Ses- James A. Molinaro ‘09P Theresa Johnson sions, Eileen Wescoe, Andrea Wittchen Marian J. Nalitt ‘84 and Devin Murphy Penny S. and John R. Kramer ‘61 ‘96P Joanne M. and John R. Patrick ‘67 Linda J. Lowe-Krentz ‘F/S and Department Coordinator - Olga Jacoby Jean T. and H. Victor Pratt, Jr. ‘61 ‘87P Michael E. Krentz ‘11P Libraries Coordinator - Linda Lipkis Program Coordinator - Linda Ganus Jacqueline and Ralph A. Puerta ‘70 ‘81G ‘99G Ronald E. Lipetz ‘62 Accounts Coordinator - Deborah Ruthrauff Sara M. and William L. Rand ‘60 ‘84P ‘93P Gail and John Marsella Recording Engineer - William Holmes Deborah Sacarakis ‘F/S Cheryl A. Murphy ‘F/S Sharon L. Levine and Bruce Samuels ‘81 ‘11P Anne C. and John B. Ochs ‘98P ‘00P ‘02P ‘F/S ZOELLNER ARTS CENTER ADMINISTRATIVE STAFF Amy R. Frolick and Brad E. Scheler ‘74 ‘05P ‘08P Douglas A. Plikaitis ‘F/S Administrative Director - J. Andrew Cassano Karen L. Stuckey ‘75 and Louise A. and Cornelus P. Powell Artistic Director - Deborah Sacarakis Henry W. Seduski, Jr. ‘10P Ruth A. ‘79G and William E. Rusling ‘51 Administrative Assistant - Cyndy Brinker Judith and Paul K. Seibert ‘63 ‘93P Ann Saurman Assistant to the Artistic Director: - Trisha Keenan Jeffrey J. Sernak Kajsa and Philip B. Sheibley ‘81 ‘16P Director of Audience Services - Sandra Anderson Anita and Thomas D. Shannahan, Jr. ‘53 ‘79P ‘11GP Marcia and Burton Spivak ‘67 Ticket Services Manager - Rachel Miller Amelia W. ‘79 and Ricardo Silva Helen and H. Stanley Stoney, Jr. ‘59 House Manager - Rosalie Sandburg Nadine J. Sine ‘F/S Shirley and Donald L. Talhelm ‘59 ‘60G Director of Development - Marcia Barone Maryann and Alan J. Snyder ‘F/S ‘78P ‘81P ‘05GP ‘F/S Director of Advertising - Z. Candi Staurinos Jane L. and Stephen J. Urban ‘57 ‘59G Sally S. ‘75G and Malcolm R. West ‘75G Director of Media and Promotions - Lynn Farley Susan G. ‘F/S and Marc A. Vengrove Kay and Earl Winters Director of Scheduling and Rentals - Loreen Domijan Scheduling Associate - Sunny Murthy Sheau-Ping and David Wu ‘F/S Director of Community Cultural Affairs - Silagh White Donna N. ‘76G and Wilson W. Yale ‘73 ‘75G ‘78G Friend Carol and Edward J. Wroble ‘15P Helene and Allen B. Apter ‘61 ZOELLNER ARTS CENTER TECHNICAL STAFF Linda J. Gamble and Michael D. Zisman ‘70 ‘10P Corinne Avanzino ‘13 Production Manager - Joshua Kovar Claire and Gil Zweig ‘12P Janet L. ‘76 and Joel C. Bacon ‘75 ‘76G Assistant Production Manager - R. Elizabeth Miller Arthur Barrett Stage Coordinator - Becky Eshelman Fellow Carl Bashaw Audio Coordinator - Kristian Ball Barbara E. and Dale T. Bowen Barbara Beelle Lighting Coordinator - Sue Ragusa Maureen A. Connolley ‘F/S Marie Bernardo Assistant Lighting Coordinator - Dani Deutschmann Ursula and Phillip Del Vecchio Paula and Paul Braden Costume Director - Pamela Richey Ann and Dennis Greenzweig Susan and Brian Brooker ‘12P Technical Director - Andrew Southard Peggy W. Hobbs ‘70G Bob Buck Assistant Technical Director - Caitlin Howley 2 15 Friends of Zoellner Arts Center 2012-2013 Season Program

The Board of Trustees of Lehigh University gratefully acknowledges and recognizes the followingalumni, friends, corporations and foundations for their generosity in supporting the annual campaign for the Friends of Zoellner Arts Center:

Ricoh Overture to Act IV, The Fairy Queen Henry Purcell Leadership funding from The Rider-Pool Foundation (1659-1695) Victoria E. and Robert E. Zoellner ‘54 ‘14GP Sands Casino Resort Bethlehem Rita P. ‘80G and Joseph B. Scheller Gala2012 and Performance Sponsors Service Electric Cable TV & Communications Adams Outdoor Advertising Sodexo Alvin H. Butz, Inc. Karen and Alexander G. Tamerler ‘67 Anonymous TD Bank Concerto for Viola and Orchestra Air Products United Way of the Greater Lehigh Valley Ambassador Financial Group, Inc. Viamedia (1902-1983) Dorothy H. and Dexter F. Baker ‘50 ‘57G ‘81H Dawn L. ‘82 and John J. Vresics, Jr. ‘81 ‘12P Andante comodo A.L. Bazzini Co., Inc. Wearever Wardrobe Jean V. Nevins and Peter E. Bennett ‘63 ‘93P Wells Fargo Vivo, con molto preciso Nancy M. Berman ‘97H and WFMZ Allegro moderato Alan J. Bloch ‘14GP Youngs Advisory Group, Inc. Buzzi Unicem USA Cynthia Phelps, viola Capital BlueCross Producer Caruso Benefits Group Dexter F. and Dorothy H. Baker Foundation Easton Coach Company Daria F. Blyskal ‘05 and Elysian Fields Specialty Florals Matthew G. Puzio ‘03 ‘04G Intermission Sondra W. ‘84 and Damien Q. Elias ‘14P The Express-Times Maestro Valerie Johnson and Patrick V. Farrell ‘F/S Alice P. Gast ‘F/S and Bradley J. Askins ‘F/S Andrea and Oldrich Foucek III ‘72 ‘05P ‘09P L. Joanne ‘76G and Curtis H. Barnette ‘99H Gilbane June W. and Leon C. Holt ‘48 Greentree Nurseries Mary Ann and Daniel J. Kelemen ‘54 Peggy and William F. Hecht ‘64 ‘70G Pia and David M. Ledy ‘70 Highmark Blue Shield Brigitte Loewy Linz ‘14GP Symphony No. 6 in B minor, Betty and Bill Hittinger ‘44 ‘71P ‘73H Patricia and Nelson G. Markley op. 74, “Pathétique” (1840-1893) ‘75P ‘78P ‘97GP ‘02GP ‘F/S Anne S. ‘F/S and Peter Meltzer Historic Hotel Bethlehem Nancy M. and H. Steven Roth ‘07P ‘12P Adagio – Allegro non troppo Jane P. ‘75 and Frederick H. Jamieson ‘74 Carol M. and Joseph P. Snyder, Jr. ‘65 ‘93P Allegro con grazia KNBT, Division of National Penn Bank Anne C. and Robert J. Teufel ‘59 ‘91P Lafayette Ambassador Bank Allegro molto vivace Lehigh Valley Style Artist Finale: Adagio lamentoso – Andante Lutron Electronics Co., Inc. Rosalie and Steven Aaronson Brenda and John E. McGlade ‘76 ‘81G Judith L. ‘80G and J. Richard Aronson ‘F/S Camille J. and Richard T. Moll ‘61 ‘93P Marcia Moll Barone ‘86 ‘93G ‘F/S and The Morning Call Christopher J. Barone ‘86 Norris McLaughlin & Marcus, P.A. Terri and James Bartholomew Parkway Corporation MaryAnn C. Belchunes JoMarie and Vincent T. Pica ‘15P Carol Dorey and John Berseth Anne R. Kline ‘81 and Geoffrey P. Pohanka Kirk M. Kozero and Joseph M. Brookes The Promenade Shops at Saucon Valley Christina B. and Thomas J. Campbell ‘80 ‘13P ‘14P Christina M. Clay, M.D. and Joan E. and Bobb Carson ‘F/S Thomas H. Ramsey ‘67 J. Andrew and Erin L. Cassano RCN Georgeina G. and W. Robert Christie ‘58 ‘59 ‘89P 14 3 About the Artists upper-class members of society like Tchaikovsky. He had attempt- ed a disastrous earlier marriage, but managed a more successful platonic relationship with his patroness Mme. Nadezhda van Meck for fourteen years until 1890, when she abruptly ended all emo- tional and financial support. This shattered Tchaikovsky’s already “Not only does Cynthia Phelps tenuous self-confidence, and he may have turned to writing this produce one of the richest, deep- symphony for consolation of the loss. However what makes cer- est viola timbres in the world, tain artists great is the way they deal with themes as monumental she is a superb musician” (Se- as fate, love and death, often through sublimation. Tchaikovsky’s attle Post-Intelligencer). Prin- heartrending symphony thus may have been such a work of tre- cipal Violist of the New York mendous emotional catharsis. Philharmonic, Ms. Phelps has distinguished herself both here The symphony itself, set in Tchaikovsky’s preferred minor mode, is and abroad as one of the leading in four movements. It begins quietly with an unearthly low bassoon instrumentalists of our time. The solo and moves into a restless first theme, borrowed from a Russian recipient of numerous honors folk tune. The soaring, expansive second theme, influenced by one and awards, including the 1988 his favorite arias (The “Flower Song” from Bizet’s Carmen), is one Pro Musicis International Award of Tchaikovsky’s greatest melodies. and first prize at both the Lionel Tertis International Viola Com- Tension relaxes for a while in the second movement’s gracefully petition and the Washington In- loopy 5/4 waltz, sounding somehow implausibly danceable. ternational String Competition, she has captivated audiences The third movement is introduced by a skittering 4/4 scherzo in with her compelling solo and chamber music performances. She the strings and winds, and quickly morphs into a brassy and (mo- is “a performer of top rank...the sounds she drew were not only mentarily) triumphant march. The music builds to such a dazzling completely unproblematical --technically faultless, generously nu- conclusion in this movement that the audience often breaks into anced-- but sensuously breathtaking” (The Globe). spontaneous and premature applause.

Ms. Phelps performs throughout the world as soloist with orches- The mood immediately returns to the opening darkness in the tras, including the Minnesota Orchestra, New York Philharmonic, fourth movement, with intense moments of soul-searching, bitter- San Diego Symphony, Orquesta Sinfonica de Bilbao, and Hong sweet nostalgia, and after a deftly-placed soft tam-tam note, her- Kong Philharmonic. She has appeared in recital in Paris, Rome, alding a church-like chorale in the low brass, the music comes to a , Boston and Washington, and at New York’s Alice Tul- poignant end, ebbing into quiet reflection and silence. ly Hall, London’s Wigmore Hall, and St. David’s Hall in Cardiff, Wales. She has also been heard on National Public Radio’s St. Paul – Linda Ganus 1Alexandra Orlova. Tchaikovsky: The Last Chapter. Russian version, Novyi amerikanets, 5-11 Nov. 1980 & 12-18 November; Sunday Morning, Radio France, and RAI in Italy, and has been fea- English version, Music & Letters 62 (1981), pp. 125-45. tured on The MacNeil/Lehrer News Hour, and CBS Sunday Morn- 2Alexander Poznansky. Tchaikovsky’s Suicide: Myth and Reality. 19th-Century Music XI/3 (Spring 1988), pp. 199-220. ing. 3Letter 4865 to Vladimir Davydov, 11/23 February 1893.

4Letter 5040 to Il’ia Slatin, 23 September/5 October 1893.

5Letter 5010 to Petr Jurgenson, 12/24 August 1893. 4 13 Tchaikovsky: Symphony No. 6 in B Minor, op. 74 (Pathétique)

The first two performances of Tchaikovsky’s Symphony No. 6 took Ms. Phelps has performed internationally as a collaborator with place in St. Petersburg, Russia exactly 119 years ago (Oct. 28 and such artists as Isaac Stern, Itzak Perlman, Pinchas Zukerman, Yo- Nov. 6, 1893). After the first concert, Tchaikovsky and his brother, Yo Ma, Lynn Harrell, and Yefim Bronfman, among many others. Modest, decided the work needed a title and settled upon the Rus- A much sought-after chamber musician, she performs regularly sian word “Patetičeskaja” – “Pathétique” in French. In Russian, the with the Chamber Music Society of Lincoln Center, New York’s word does not actually mean “piteous,” but more accurately “pas- Bargemusic, the Boston Chamber Music Society, and Music From sionate” and “emotional,” but not without a touch of attendant suf- Copland House. Ms. Phelps has performed with the Guarneri, fering. American, Brentano, and Prague String Quartets, the Kalichstein- Robinson-Laredo Trio, and at the Mostly Mozart, Marlboro, Se- The sudden and violent death of the composer (ostensibly from attle, Bridgehampton, Ravinia, La Jolla, Santa Fe, Bravo!Colorado, cholera) between the two performances was a huge shock to the Naples, Cremona, Schleswig-Holstein, and Chamber Music North- public. At the second performance, the audience looked and lis- west Festivals. tened hard for any titillating clues to explain the tragic circumstanc- es, associating the symphony with Tchaikovsky’s mysterious death. Ms. Phelps regularly receives enthusiastic reviews for her perfor- People often find what they are looking for, and the evocative title, mances as soloist with the New York Philharmonic; works she has along with a musical quotation from the Orthodox Requiem and the performed include Berlioz’s Harold in Italy, the Bartok Viola Con- striking, plaintive Adagio finale, led to speculation that Tchaikovsky certo and Strauss’s Don Quixote, the Benjamin Lees Concerto for was despondent enough to end his own life. Indeed, an ex-Soviet String Quartet, and the recent premiere of a concerto written for her émigré musicologist developed this theory of the “symphony as by Sofia Gubaidulina. Recent performances have included a New suicide note” to its most extreme in a now widely-discredited 1980 York Philharmonic International tour featuring the Gubaidulina, article, contending that Tchaikovsky drank poison to avoid expo- a new work written for her by composer Steven Paulus (commis- 1 sure of a homosexual affair. However, in recent years, this theory sioned by the Tucson Winter Chamber Music Festival), and return 2 has been pretty thoroughly debunked by scholars, citing evidence solo engagements with the Hong Kong Philharmonic, the San Di- to the contrary and Tchaikovsky’s own letters around this time, ego Symphony and numerous other orchestras. which portray a man extremely happy with the completion of his latest symphony: This season, Ms. Phelps appears in virtually every major concert hall in , including performances with the American “You cannot imagine what bliss I feel…assured that my String Quartet, the Kalichstein-Robinson-Laredo trio, and mezzo- 3 time has not yet passed and that I can still work...” ““I soprano Suzanne Mentzer. She also performs in recital in La Jolla, think it will be successful; it is rare for me to write anything as well as on tour with violinist Ida Kavafian and cellist Ronald 4 with such love and enthrallment...” “I can honestly say Thomas. She looks forward to a new viola concerto written for her that never in my life have I been so pleased with myself, by Richard Danielpour. Her solo debut recording is on Cala Re- so proud, or felt so fortunate to have created something as cords, and can also be heard on the Marlboro Recording Society, 5 good as this.” Polyvideo, Nuova Era, Virgin Classics, and Covenant labels. Ms. Phelps and her husband, cellist Ronald Thomas, reside in New Jer- Tchaikovsky did, in fact, live in somewhat constant fear of disclo- sey and have three children, Lili, Christinia, and Caitlin. sure of his homosexuality. Same-sex affairs, officially deemed “crim- inal” at the time, were frowned upon and often the source of rumor and gossip, but mostly went overlooked and unpunished among 12 5 Walton: Concerto for Viola and Orchestra The Lehigh University Philharmonic Eugene Albulescu, Music Director In 1928, conductor suggested Walton write a con- Strings Coaches, Timothy Schwarz, Linda Kistler, Sharon Olsher, Christopher Gross, John Gaffney certo for acclaimed violist Lionel Tertis. Walton, who was a great Brass Coaches, Daniel Braden, David Golden admirer of Prokofiev, responded with a work that was influenced Woodwind Coach, Silagh White by the Russian composer’s Concerto No. 1 in its combination Percussion Coach, Steven Mathiesen of lyricism and modern harmonies. Tertis, however, did not appre- Linda Ganus Orchestra Manager, ciate its “modernist excesses” and rejected it. Subsequently, violist VIOLIN I CELLO FRENCH HORN and composer premiered the piece in London in ^Christopher Lee !Max Watkins Kenny Barry Jack O’Donnell !Brittany Foster Andrew Lexa October 1929, to moderate success. Tertis later performed the piece ~Ben Freeman Ellen Hospador Catherine Preysner as well, explaining “I had not learnt to appreciate Walton’s style.” ~Kelsey Leck Dan Messina *James Roberts Andrew Shang Kaitlyn Baum *Daniel Braden Stephanie Seredenko Lo-ammi Delvillar The first movement, Andante comodo, begins with a lyrical melody Yi Liu Sam Present TRUMPET in the viola that suggests both major and minor harmonies. The Philip Hsaio Wesley Vogel ~Daniel Enny Emilia Silebi Jessie Zaczewski second theme, viola above a pizzicato accompaniment, is more Elizabeth Kim Whitney Challenger !Matt Levy restless, leading to a forceful climax punctuated by the brass. The Christine Hofmeister Marine Papillaud DeVaughn Roberts Kathy Stehly Sheng-Hsiu Lin *Rick Weisman recapitulation finds the opening theme now played by oboe and Karen Ambrose flute, with a viola obbligato in counterpoint, and the section ends TROMBONE ^Rebecca Brown BASS in hushed tones. James Copti Charlie Bremer VIOLIN II Shenyan Wang Carl Blew Taylor Bond Simon Hwang Cristiano Lima The second movement, Vivo, con molto preciso, is a brief, dizzying Zinan Jiang Konrad Rauscher ^Malcolm Viney Harry Lentz *John Gaffney scherzo. The viola trades fast, rhythmic figures with the orches- ^Yevgenyi Dyo ^Ray Bohn TUBA tra, until the brass introduce a second, no less energetic theme. Stephanie Cha ^Clark Hamman Kim Hetrick Throughout the movement, Walton breaks up the melodies with Erin Kennedy FLUTES HARP sudden offbeat accents and shifts of meter that keep the energy Ali Yeager Kelsey Alpaio Kellen Lowrie Amar Shah Devon Dowd high until the final flourish. Peter Balzereit Emily Purcell Rosemary Frey Maddie Weiss PERCUSSION Dominic Behe Stephanie Rivero David Lu A solo bassoon introduces the triplet-heavy first theme of the final Cheyenne Begley !Evan Mullen movement, Allegro moderato. Both the solo viola and various sec- *Herm Nied OBOE/ENGLISH HORN Johnny Vonelli tions of the orchestra take it up, until the viola introduces a new, Susan Vitez ~Meghan Brisson Sarah Lerew OFFICERS more plaintive theme. A fast, almost furious interlude leads to the VIOLA Haley Robinson President – Taylor Bond final expressive motif, under which Walton includes segments of *Sharon Olsher External Vice-Pres. – Kenny Barry Casey Hofstaedter the first theme as an ostinato. The final fugue is a tour-de-force of CLARINET Internal Vice-Pres. – Kellen Lowrie Dan Butensky #Zachary Farley Treasurer – Emilia Silebi compositional planning, including portions of all three themes, Francois Sissoko ~Geoffrey Groman Librarian – Geoffrey Groman then ending with an epilogue in which the soloist returns to a mel- *Todd Watkins Social Coordinator – Emily Purcell Isabelle Dalzon #Alexis Lundy Alumni Coordinator – Kim Hetrick ody from the Andante, while a bass clarinet (originally the cellos Phyllis Lavetsky #Lauren Mentzer Sarah Early !Anne Smolko in Walton’s earlier version) plays the first theme from this Allegro *Ed Lotto underneath. The piece ends quietly, once again contrasting both Takeshi Horochi BASSOON *Lehigh faculty/staff Dan Shin Ariel Scholtz ^Guest artist major and minor harmonies, and focusing on the viola’s greatest ^Rebecca Reynolds Anne Theurkauf #Snyder Scholar strengths: its deep, soulful sound and instrospective quality. *Silagh White !Baker Scholar ~Performing Arts Scholar – Barbara Heninger, for the Redwood Symphony, June 10, 2001 6 11 Program Notes The Lehigh University Philharmonic Orchestra is a currently a group of over ninety talented musicians, most of whom are under- graduate students majoring in disciplines outside of music. They Purcell: Overture to Act IV, The Fairy Queen regularly perform at their home in the Zoellner Arts Center on the campus of Lehigh University and have performed at various in- Henry Purcell, on the heels of his successful opera Dido and Aeneas ternational venues in Europe, Asia and South America and Africa. (1689), decided his next project should be a more extravagant form The orchestra also champions student achievement, presenting each of musical theater, adding instrumental interludes and spectacular February a marathon of concerto movements where all orchestra stage sets to the usual operatic arias and recitatives. members have a chance to play a concerto movement.

This new form of entertainment was called “semi-opera,” and The The orchestra’s programming focus is the historically important Fairy Queen, (1692), based on Shakespeare’s play “A Midsummer main orchestral repertoire, ranging from Bach to Barber and every- Night’s Dream,” was planned to be the most lavish to date. thing in between. New multi-media presentations of such works as the Nutcracker Suite and The Emperor and the Nightingale have The new production had five acts, and within the acts were co-min- gled dramatic episodes called “masques,” as well as instrumental earned the orchestra a reputation for originality. Pioneering new preludes. The masques often contained metaphors for current po- music is also a focus. In the past few years the orchestra presented litical events and frequently strayed far from the action of the origi- several North American and world premieres, as well as a yearly nal play. So much of Shakespeare’s text was cut or altered that it concert featuring works of Lehigh University student composers. barely still made dramatic sense, but that apparently did not overly disturb the spectacle-loving audience.

The instrumental overture to Act IV heard tonight is scored for a small band of timpani, strings, oboes, trumpets and continuo. It originally served to introduce the character Titania, the Fairy Queen, summoning the four seasons and Phoebus, the sun god. Significantly, the kings of England were traditionally likened to the sun, and recent scholars have discovered that the opera was com- posed for the fifteenth wedding anniversary of William and Mary, the monarchs at the time The Fairy Queen was composed. The tempi of the music alternates in short mini-movements between pomp and pageantry, solemn declamation, and quick action, apt for de- scribing fleeting interactions between earth-bound humans and the airbourne sprites of a midsummer’s night. – Linda Ganus

10 7 An award-winning performer who com- Concertmaster Christopher Collins Lee, violinist, bines a blazing technique with the artistic became a protegè of Zino Francescatti at the age integrity and originality to express musi- of sixteen, traveling with him throughout Europe cal emotions at their most personal level, on his final tours. Chris studied violin and com- Eugene Albulescu’s emergence on the in- position at Curtis and Juilliard, earned a Doctor- ternational scene came in 1994, when his ate degree, was a Fulbright Scholar, and has been debut recording (Albulescu Plays Liszt, awarded four Honorary Doctorate degrees. His MANU1446) earned him the Grand Prix principal teachers were Dorothy DeLay, Joseph du Disque Liszt, awarded for the best Liszt Fuchs, Henryk Szeryng and Nathan Milstein. Mr. recording of the year, adding Albulescu’s Lee has received many honors including Prizes name to that of legendary recipients such in the Carl Flesch International Violin Competi- as Horowitz and Brendel. Noted New York tion, the Tibor Varga International Competition, Times critic Harold Schonberg praised Al- and the J.S. Bach International Competition, The Lion D’or of the French bulescu in the American Record Guide for government, a Guggenheim Grant, The Belgian American Award, and the his “infallible fingers of steel,” declaring Prize. As an Official Musical Ambassador of the U.S. Depart- that “nothing, anywhere, has any terrors for him.” Albulescu performed ment of State for two decades, he has played thousands of concerts under in New York at BargeMusic in 1996, and later gave his Carnegie Hall de- their auspices worldwide, forty solo tours to the Far East alone. One of his but in the Stern Auditorium in 2001. He has worked as conductor and recordings was chosen to represent human culture on the Voyager Time soloist with numerous major orchestras including the New Zealand Sym- Capsule, launched into space in 1977, just now leaving our solar system. phony, The Romanian National George Enescu Philharmonic, the New Christopher has received critical acclaim for his recitals and York Chamber Orchestra, the Manukau City Symphony Orchestra, Christ- chamber music collaborations. Ian Hodgson wrote in Strad Magazine, church Symphony, as well as the French Chamber Orchestra. His record- “He is a communicator. He draws each listener into the world of each ings have been released on Ode/Manu label, Ode/BMG, Trust, as well as composer, and distills a kind of musical essence.” The New York Times Downstage Recordings. His recent engagements include a recording with termed Christopher Lee “an impressive, stylish violinist with something the New Zealand Symphony on the Naxos Label. special to say.” The Tass News Agency praised him for an “expressive big Albulescu’s outreach in over one hundred US high schools has technique, with musical insights to match . . . placing him in the front rank been significant, and his program “Inside the Piano” linking technology of today’s top violinists.” Musical America listed him on their annual “Ten and creativity earned him coverage from the major media, including ar- Musicians to Watch,” and Nathan Milstein once said, “Christopher Lee ticles in the Washington Post, Inquirer, as well as the cover of has the most beautiful violin sound of his generation.” Clavier Magazine. Albulescu performed at the 2002 Salt Lake City Olym- Christopher has performed as violin soloist with Leopold Sto- pics, and was invited to perform at the White House for the Millennium kowski, , Sergiu Commissiona, Lucas Foss, and Ar- celebrations. He has performed and recorded on four continents. thur Fiedler . Christopher has recorded for CBS, Angel, Desto, Albulescu started his piano studies in Romania at age six, at the Everest, Delos, Arista and the Quattro Corde labels. His lecture recitals Enescu Music School in Bucharest. His family moved to New Zealand in devoted to Mozart’s life and times are continuously in great demand, us- 1984 to escape Romania’s Communist regime. He completed his musi- ing his 1680 Cremonese violin made by Francesco Ruggieri, which once cal studies at Indiana University where, at nineteen, he was the young- belonged to Leopold Mozart. He is the Ronald J. Ulrich Concertmaster-in- est person ever to teach as an assistant instructor. Eugene Albulescu is Residence with the Lehigh University Philharmonic. a Steinway Artist who currently teaches on the music faculty at Lehigh University in Bethlehem, PA.

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