WEEK ONE IN THE OLD STYLE Sunday Afternoon, August 5, 2018 at 3:00 Spa Little Theatre SUMMER WARMTH Tuesday Evening, August 7, 2018 at 8:00 Spa Little Theatre

WWW.SPAC.ORG WWW.CHAMBERMUSICSOCIETY.ORG A MESSAGE FROM THE PRESIDENT

Dear Friends,

Welcome to the Saratoga Performing Arts Center’s 2018 Season! As I begin my second summer in Saratoga, I am so grateful for the community’s enthusiastic embrace of our new initiatives, new partnerships and new collaborations. This season you can expect exhilarating performances from our beloved resident companies, the return of new “classics” like “Live at the Jazz Bar,” “SPAC on Stage” and “Caffe Lena @ SPAC,” and the Saratoga debuts of the National Ballet of Cuba and Trinity Irish Dance Company. SPAC and its home, the Spa State Park, represent a perfect confluence of manmade beauty and natural beauty and it is the inspiration of place that made us want to explore the interplay between the natural world and the world of art, the nexus between Art & Cosmos. This year, we launch the Out of this World festival, kicked off by a performance of Holst’s The Planets with spectacular NASA Space footage, followed by star-gazing around the reflecting pool. Audiences will engage with roaming astronomers, experience virtual reality space expeditions and even attend a special children’s chamber concert that examines the creative connection between Einstein and Mozart. And we introduce a new SPAC Speakers series with thought-provoking “stars” from the worlds of space, science and the arts. There are so many other new experiences and surprises in store. We welcome you to a new summer of discovery.

Elizabeth Sobol PRESIDENT AND CEO

CMS AT SPAC A MESSAGE FROM THE CHAIRMAN

Dear Friends,

On behalf of the Saratoga Performing Arts Center Board of Directors, thank you for your support and attendance at this performance. The strength and progress of SPAC has always depended on the contributions of its audiences and the many sponsors, donors and partners who recognize SPAC’s impact on the cultural and economic life of this region. Thanks to you, as we lift the curtain on our season, we do so in a strong position financially, artistically and as an institution. Last season, we welcomed Elizabeth Sobol to Saratoga Springs as SPAC’s new president and CEO. In less than two years, Elizabeth has implemented a new vision and path for the Center with innovative programming and an increased emphasis on affordability, accessibility and community outreach. SPAC’s reduced $30 amphitheater ticket and the expanded Fidelity Kids in Free program welcomed hundreds of new guests who had previously never been to the Center. Educational programming such as Classical Kids, Summer Nights at SPAC and the Performance Project have expanded exponentially, reaching more than 23,000 students in over 70 schools. These are just a few of the successes that we will continue to build upon. Looking ahead to the future, I’d also like to extend a special thanks to New York State for its capital investment of $1.75 million to rehabilitate and upgrade SPAC’s amphitheater ramps, lighting and other high priority infrastructure. The new project is slated to be completed in advance of the 2019 season and is part of the Board’s and SPAC President and CEO Elizabeth Sobol’s vision to strengthen our partnerships and make critical investments into our facilities for generations to come. As always, your presence and support is what makes this season possible. We invite you to join us often this summer to experience world-class artistry in our world-class venue.

Ron Riggi CHAIRMAN

CMS AT SPAC IN THE OLD STYLE Sunday Afternoon, August 5, 2018 at 3:00 Spa Little Theatre

GILLES VONSATTEL, piano SCHUMANN QUARTET NICOLAS DAUTRICOURT, violin ERIK SCHUMANN, violin KEN SCHUMANN, violin LIISA RANDALU, MARK SCHUMANN,

ALFRED SCHNITTKE Suite in Old Style for Violin and Piano (1934-1998) (1972) Pastorale: Moderato Ballet: Allegro Minuet: Tempo di menuetto Fugue: Allegro Pantomime: Andantino DAUTRICOURT, VONSATTEL

DMITRI SHOSTAKOVICH Quintet in G minor for Piano, Two Violins, (1906-1975) Viola, and Cello, Op. 57 (1940) Prelude: Lento— Fugue: Adagio Scherzo: Allegretto

Intermezzo: Lento— Finale: Allegretto VONSATTEL, DAUTRICOURT, K. SCHUMANN, RANDALU, M. SCHUMANN

—INTERMISSION—

LUDWIG Quartet in C-sharp minor for Strings, VAN BEETHOVEN Op. 131 (1825-26) (1770-1827) Adagio ma non troppo e molto espressivo— Allegro molto vivace— Allegro moderato—Adagio— Andante ma non troppo e molto cantabile— Presto— Adagio quasi un poco andante— Allegro E. SCHUMANN, K. SCHUMANN, RANDALU, M. SCHUMANN

PLEASE TURN OFF CELL PHONES AND OTHER ELECTRONIC DEVICES. Photographing, sound recording, or videotaping this event is prohibited. NOTES ON THE PROGRAM

Suite in Old Style for Violin and Piano

ALFRED SCHNITTKE works gained him a reputation as a Born November 24, 1934 in modernist, and he was accepted as Engels, Russia. a member of the Composers’ Union Died August 3, 1998 in Hamburg, Germany. following his graduation in 1958 as much to tame his avant-garde Composed in 1972. tendencies as to promote his creative Duration: 16 minutes work. He tried writing Party-sanctioned pieces during the next few years—the Alfred Schnittke was born on 1959 cantata Songs of War and Peace November 24, 1934 in Engels on was his frst published score—but the the Volga, in the Russian steppes, ft was uncomfortable on both sides, 500 miles southeast of Moscow. He and during the 1960s and early 1970s, showed enough musical ability to when performances of his works were receive an audition at the Central offcially discouraged, he devoted Music School for Gifted Children in most of his creative energy to scoring Moscow in May 1941, but the following three or four flms a year. In 1962, month the Germans invaded Russia he started teaching part-time at the and the opportunity for early training Moscow Conservatory (the Soviet vanished. In 1945, after the war, Harry offcials would not grant him a full-time Schnittke, a journalist, got a job on a appointment), leaving little opportunity German-language newspaper in Vienna for original creative work. In 1972, he published by the occupying Russian resigned from the conservatory to forces. He brought his family to the city devote himself to composition. the following year, and there 12-year- Schnittke composed prolifcally old Alfred had the world of music during the following years, and opened to him through his frst piano by the early 1980s he had won an lessons and attendance at operas international reputation. In 1989, he and concerts. The city of Mozart and accepted a grant that allowed him to Schubert inspired Schnittke’s earliest live in Berlin for a year, after which he attempts at composition. settled in Hamburg. During his later When the Viennese paper ceased years, Schnittke was invited regularly operations in 1948, the Schnittkes to attend performances of his works returned to Russia, where Alfred from Tokyo to Leipzig to Santa Fe, but gained admittance to the October he was limited in traveling because of Revolution Music College in Moscow; allergies, migraines, kidney disease, in the autumn of 1953, he entered and three serious strokes suffered the Moscow Conservatory. His early between 1985 and 1994, though he

CMS AT SPAC SUNDAY, AUGUST 5, 2018 proved remarkably resilient in carrying made a transcription for chamber on his creative work until his death in orchestra alone the following year.) Hamburg on August 3, 1998. The work is in a mock-Baroque style In developing his own distinctive that places it in the line of such earlier musical speech, Schnittke sifted musical homages to bygone eras through a wide range of music, old as Tchaikovsky’s Mozartiana Suite, and new, and came to understand Stravinsky’s Pulcinella, and Ravel’s Le that he could forge a style of personal Tombeau de Couperin. Schnittke’s lilting expression that could encompass, Pastorale glows with a sunny sweetness perhaps might even be formed from, that recalls tender movements by references to other music and other Vivaldi and Handel; the music stops ages. “A mixture of styles which are before it reaches its apparent fnal worked with as they are,” he explained, cadence chord. The Ballet is nimble and “not in the sense of a synthesis but bustling, with a brief central section that as ‘poly-stylism,’ in which the various is more veiled in expression. The Minuet idioms appear to speak as individual is slow in tempo and surprisingly keys on a large keyboard.” Though lugubrious, giving it the effect of a clearly products of the late 20th century, sad lullaby. The Fugue is more a jaunty Schnittke’s compositions are essentially contrapuntal dialogue than a formally old-fashioned and Romantic in trying developed example of its genre. The to create a sense of musical journey, of closing Pantomime, a sort of modern emotions excited, of memories evoked, Musical Joke, tosses satiric gibes at of communication from an insightful the banalities of some lesser Baroque author to an attentive mind and heart. music. Some dissonant harmonies The Suite in Old Style was composed escape to mark the movement’s mid- in 1972 for violin and keyboard (piano or point, after which the banal music harpsichord), and arranged in 1987 for resumes unfustered. Like the Pastorale, viola d’amore and chamber orchestra. the Pantomime ends before it makes it (Vladimir Spivakov and Mikhail Milman to the expected fnal resolution.

Quintet in G minor for Piano, Two Violins, Viola, and Cello, Op. 57

DMITRI SHOSTAKOVICH Shostakovich’s mother, Sofa Born September 25, 1906 in St. Petersburg. Vasilievna, was a skilled pianist Died August 9, 1975 in Moscow. who studied at the St. Petersburg Conservatory and taught the Composed in 1940. instrument professionally. She passed Premiered on November 23, 1940 in Moscow by the Beethoven Quartet and her talent onto her offspring—her the composer. oldest child, Maria, followed in her Duration: 31 minutes footsteps, and Sofa began Dmitri’s lessons when he was nine. (Her

CMS AT SPAC SUNDAY, AUGUST 5, 2018 and Strings that would allow them to perform together. Shostakovich duly THE QUINTET WAS composed the work during the summer GREETED WITH UNIVERSAL of 1940, and gave its premiere with ACCLAIM, WHICH WAS the Beethoven Quartet in the Small OFFICIALLY RECOGNIZED Hall of the Moscow Conservatory on WHEN ITS COMPOSER November 23rd during a Festival of WAS PRESENTED WITH THE Soviet Music. STALIN PRIZE The quintet was greeted with universal acclaim, which was offcially third and last child, Zoya, became recognized when its composer was a veterinarian.) Dmitri displayed a presented with the Stalin Prize, quick affnity for the piano, and he the highest award then granted in was placed in Glyaser’s Music School the Soviet Union for artistic work. after only a year of study at home. The quintet opens with a dramatic Three years later, in 1919 (and just two statement by the piano (keyboard years after the revolution, which his and strings are held in opposition family supported wholeheartedly), throughout) that is soon taken over Shostakovich entered the Petrograd by the strings. The center section is Conservatory as a piano student of occupied by a lighter strain, a sort Leonid Nikolayev; he graduated in 1924 of melancholy shadow waltz that is as a highly accomplished performer. brought to a climax to lead to the Shostakovich always retained return of the dramatic opening music his love of the piano and played by the full ensemble to close the throughout his life whenever he could, movement. The second movement but the lack of practice time prevented is a tightly woven fugue of somber him from performing much music other countenance that traces the form of than his own. The composer’s student an arch, beginning and ending softly Samari Savshinsky described him as and reaching a peak of intensity in “an outstanding artist and performer. its middle regions. The Scherzo that The crystalline clarity and precision of follows is, according to Andrew Huth, thought, the almost ascetic absence “cheerfully poised between spiky wit of embellishment, the precise rhythm, and downright bad manners.” The technical perfection, and very personal Intermezzo contains the expressive timbre he produced at the piano heart of the quintet. Its expansive, made all Shostakovich’s piano playing deeply felt melodic lines are borne individual in the highest degree.... along by the heartbeat tread of its Those who remember his performance incessant bass line, and, like the fugue, of Beethoven’s mighty ‘Hammerklavier’ it reaches its emotional highpoint near Sonata, followed by a number of its center. The Finale is a large sonata Chopin pieces, can only regret that form built on an airy, widely spaced his talent as a pianist was never fully main theme and a rather coarse developed or applied.” After years contrasting strain. The development of prompting, the Beethoven String section includes a reminiscence Quartet, the ensemble that premiered of the dramatic theme from the all of Shostakovich’s 15 quartets except Prelude, but optimism returns with the No. 1, fnally convinced the composer- recapitulation, and the quintet closes in pianist to write a Quintet for Piano a genial, if somewhat subdued mood.

CMS AT SPAC SUNDAY, AUGUST 5, 2018 Quartet in C-sharp minor for Strings, Op. 131

LUDWIG VAN BEETHOVEN quartet. Karl Holz, the composer’s Born December 16, 1770 in Bonn. amanuensis and the second Died March 26, 1827 in Vienna. violinist in Ignaz Schuppanzigh’s quartet, which gave the frst public Composed in 1825-26. performances of Galitzin’s quartets, Duration: 39 minutes recorded, “During the composition of the three works for Prince Galitzin, On November 9, 1822, Prince Nikolas Beethoven was assailed with such Galitzin, a devotee of Beethoven’s an overwhelming fow of ideas that music and an amateur cellist, wrote he went against his will, as it were, from St. Petersburg asking the to write the Quartets in C-sharp composer for “one, two, or three minor and F major.” Beethoven began quartets, for which labor I will be sketching the C-sharp minor Quartet glad to pay you whatever amount in December 1825, immediately after you think proper.” After a hiatus Op. 130 was completed, and worked of a dozen years, Beethoven was on it during the following months at eager to return to the medium of the his fat in the Schwarzspanierhaus, , and he immediately near the site of the present Votiv- accepted the commission and set the Kirche. By May 1826, the piece was fee of 50 ducats for each work, a high suffciently advanced for him to price but one readily accepted by begin offering it to publishers, and he Galitzin. Though badgered regularly sent inquiries to the frms of Schott by the Russian Prince (“I am really in Mainz, Schlessinger in Paris, and impatient to have a new quartet of Probst in Leipzig. The quartet was yours. Nevertheless, I beg you not to fnished in July, and accepted by mind, and to be guided in this only by Schott the following month, but the your inspiration and the disposition fnal details of the score’s publication of your mind”), Beethoven, exhausted were not fully settled until March by his labors on the Ninth Symphony 24, 1827, just two days before in 1823-24, could not complete the Beethoven’s death. Quartet in E-fat major (Op. 127) The C-sharp minor Quartet may until February 1825; the second well be Beethoven’s boldest piece quartet (A minor, Op. 132) was of musical architecture—seven fnished fve months later; and the movements played without pause, third (B-fat major, Op. 130) was six distinct main key areas, 31 written between July and November, tempo changes, and a veritable during one of the few periods of encyclopedia of Classical formal relatively good health Beethoven principles. Though it passes beyond enjoyed in his last decade. the Fifth Symphony, Fidelio, and Fulflling the commission for Egmont in its harmonic sophistication Galitzin, however, did not nearly and structural audacity, this quartet exhaust the fount of Beethoven’s shares with those works the sense creativity in the realm of the string of struggle to victory, of subjecting

CMS AT SPAC SUNDAY, AUGUST 5, 2018 the spirit to such states of emotional of variations. The ffth movement unrest as strengthen it for winning alternates two strains of buoyantly the ultimate triumph. The opening aerial music. The Adagio in chordal movement is a spacious, profoundly texture is less an independent expressive fugue that, according to movement than an introduction and Richard Wagner, “reveals the most foil for the fnale, whose vast and melancholy sentiment in music.” The densely packed sonata form (woven following Allegro offers emotional with references to the fugue theme of respite as well as structural contrast. the frst movement) summarizes the A tiny movement (Allegro moderato— overall progress of this stupendous Adagio) serves as the bridge to the quartet in its move from darkness expressive heart (and formal center) and struggle toward light and of the quartet, an expansive set spiritual renewal.

© 2018 Dr. Richard E. Rodda

CMS AT SPAC SUNDAY, AUGUST 5, 2018 SUMMER WARMTH Tuesday Evening, August 7, 2018 at 8:00 Spa Little Theatre

GILLES VONSATTEL, piano SCHUMANN QUARTET WU HAN, piano ERIK SCHUMANN, violin NICOLAS DAUTRICOURT, violin KEN SCHUMANN, violin JOSEPH CONYERS, double bass LIISA RANDALU, viola MARK SCHUMANN, cello

JOSEPH HAYDN Trio in A major for Piano, Violin, and Cello, (1732-1809) Hob. XV:18 (1794) Allegro moderato Andante— Allegro WU HAN, E. SCHUMANN, M. SCHUMANN

ANTONÍN DVOŘÁK Quartet in E-fat major for Strings, Op. 51 (1841-1904) (1878-79) Allegro ma non troppo Dumka (Elegia): Andante con moto—Vivace Romanze: Andante con moto Finale: Allegro assai E. SCHUMANN, K. SCHUMANN, RANDALU, M. SCHUMANN

—INTERMISSION—

FRANZ SCHUBERT Quintet in A major for Piano, Violin, Viola, Cello, (1797-1828) and Bass, D. 667, Op. 114, "Trout" (1819) Allegro vivace Andante Scherzo: Presto Andantino (Tema con variazioni) Finale: Allegro giusto VONSATTEL, DAUTRICOURT, RANDALU, M. SCHUMANN, CONYERS

PLEASE TURN OFF CELL PHONES AND OTHER ELECTRONIC DEVICES. Photographing, sound recording, or videotaping this event is prohibited. NOTES ON THE PROGRAM Trio in A major for Piano, Violin, and Cello, Hob. XV:18

JOSEPH HAYDN played one of the new fortepianos Born March 31, 1732 in Rohrau, on his visit to the court of Frederick Lower Austria. the Great at Berlin in 1747, he was Died May 31, 1809 in Vienna. able to declare his enthusiasm for

Composed in 1794. it. During the 1760s and 1770s, the Duration: 16 minutes piano slowly began to supplant the harpsichord; Mozart acquired his The history of the piano is far first fortepiano in 1781, the year he more than the mere recounting moved to Vienna. of the mechanical and technical The three factors that most development of an instrument—it is strongly guided the full acceptance a virtual microcosm of the progress of the piano—one political, one of modern Western civilization. social, one commercial—swung The first keyboard instrument into place during the closing capable of responding to the decades of the 18th century. The varying touch of the player was political aspect involved nothing the gravicembalo col piano e forte less than the French Revolution, (harpsichord with soft and loud), the cataclysmic event that hurled invented in Florence in 1709 by Europe into the modern egalitarian Bartolomeo Cristofori. Cristofori’s world. France had long been the instrument, whose sound was most important country for the activated by a hammer thrown production of harpsichords, and against a string according to the the disruption of its commerce force of the pressure applied at the effectively limited it as a source of keyboard, allowed for gradations musical instruments. Indeed, the of dynamics that were impossible revolutionaries made it one of their on the plucked-string harpsichord goals to destroy every harpsichord and was well suited to the growing they could find as a symbolic demand for music that would more smashing of the old aristocracy— intimately mirror the passionate the new times in France called for a expression of the performer. It new musical instrument. took Cristofori more than a decade The social reason promoting to perfect the mechanism and the acceptance of the piano, one several more years for various not unrelated to the upheavals in manufacturers to establish their France, was the rise of the middle trade in the instruments, but by class, the new gentry who had both the time Johann Sebastian Bach leisure time and the money to enjoy

CMS AT SPAC TUESDAY, AUGUST 7, 2018 “accompanied,” as the style of the THE TRIO EXHIBITS A time dictated, by violin and cello. MASTERY OF FORM After joining the Esterházy musical AND STYLE AND A establishment in 1761, Haydn turned BREADTH OF EXPRESSION from the traditional keyboard REMINISCENT OF HAYDN'S trio to the genres of composition PEERLESS LONDON for the curious baryton, a string SYMPHONIES instrument descended from the old viol family that served as the it. In those days before recordings principal performance outlet for and broadcasts, music could only Prince Nikolaus. Haydn created be heard at the instant and place it 175 works for baryton, some 126 was produced, so the demand for of them as trios for the instrument a musical instrument as the center joined by viola and cello. By the of home entertainment—for the time he returned to the keyboard fashionable piano—mounted. (For trio in 1782, the fortepiano had those interested in learning about become the instrument of choice the social history of the piano, for a burgeoning band of musical Arthur Loesser’s delightful book amateurs, and his second foray into Men, Women & Pianos is highly trio composition was undertaken to recommended.) help satisfy that clientele’s lucrative The success of the piano as an demand for new material. Haydn’s item of commerce followed, of trios of the 1780s, then, were course, the increased demand. tailored to the piano rather than the By the turn of the 19th century, harpsichord, and were generally the instrument had become an lighter in style, simpler of execution, important commercial product, and more compact in form (i.e., amenable to being mass- three movements rather than four) manufactured and sold at reduced than his contemporaneous string prices to a potentially enormous quartets, though they make few market. Profits soared, and so did concessions to the dilettante and the infestation of pianos. still exhibit the same sophisticated The early steps in the piano’s thematic manipulation and daring progress may be traced in Joseph harmonic invention that mark his Haydn’s compositions for keyboard larger instrumental works of the trio. His earliest trios for keyboard, time. The third and final group of violin, and cello date from the mid- Haydn’s trios, comprising more than 1750s. These pieces, small in scale a third of his 45 works in the form, and courtly in expression, as befit dates from the 1790s, the years the taste and situation of Count of his London ventures and his Ferdinand Maximilian von Morzin, greatest international acclaim. his employer at the time, were As was typical of the 18th-century clearly intended for the harpsichord, genre, Haydn’s A major Piano

CMS AT SPAC TUESDAY, AUGUST 7, 2018 Trio, composed in 1794, during London symphonies. The work his second residency in London, opens with a genial sonata-form entrusts the bulk of the musical movement built almost entirely argument to the keyboard, with from the angular but smoothly the strings often relegated to flowing motive given in imitation augmenting and doubling roles. at the outset by the piano. The Though the piece was written for Andante juxtaposes melancholy and the growing market of British and contented strains in a three-part Continental musical amateurs, the form (A–B–A). The movement ends trio exhibits a mastery of form and on an inconclusive harmony that style and a breadth of expression lead directly to the finale, a jokey reminiscent of Haydn's peerless rondo of Gypsy persuasion.

Quartet in E-fat major for Strings, Op. 51

ANTONÍN DVOŘÁK a protégé. Brahms insisted that his Born September 8, 1841 in publisher, Fritz Simrock, issue some Nelahozeves, Bohemia. of Dvořák’s music and commission Died May 1, 1904 in Prague. a new work from him. The result Composed in 1878-79. of Simrock’s order, modeled on Premiered on July 29, 1879 in Berlin Brahms’s Hungarian Dances, by the Joachim Quartet. was the Slavonic Dances, which, Duration: 32 minutes immediately upon their publication in August 1878, created a sensation. With the lightning success of Demands for more of Dvořák’s music his Slavonic Dances of 1878, came from publishers, conductors, Antonín Dvořák became one ensembles, choral of his day’s most popular—and societies, and soloists. In February busiest—composers. Just three 1879, he wrote a Festival March years before, when he was in such for the celebration of the Silver dire fnancial straits that the city Wedding Anniversary of the Emperor offcials of Prague certifed his and Empress of Austria at the Prague poverty, he entered some of his National Theater; by March, the E-fat works in a competition in Vienna String Quartet (Op. 51) was fnished; for struggling composers. He won, he delivered his setting of the 149th and the distinguished jury members, Psalm to the Prague Choral Society including and the that same month; and the Mazurek powerful critic Eduard Hanslick, took for Violin and Orchestra (Op. 49) was on their young Czech colleague as premiered in Prague on March 29th.

CMS AT SPAC TUESDAY, AUGUST 7, 2018 As with other of Dvořák’s works different cultures (Dvořák once of that period, the E-fat Quartet reportedly asked the noted folklorist is deeply imbued with the spirit Ludvík Kuba at a chance coffee- and style of the music of his native house encounter, “Just what is Bohemia. The quartet opens with a dumka, anyway?”), so he felt a serene main theme that acquires justifed in making his own formal some dance-like decorating fgures interpretation of it. For the second reminiscent of the polka as it movement of the E-fat Quartet, he unfolds. The second theme, initiated used a form of alternating sections by the viola, is structured in short, of slow thoughtful music and fast simple phrases, like a folksong. dancing music. The Romanze is The development section is mainly arranged along a formal arch—gentle devoted to transformations of the and nocturnal at beginning and end, main theme and its associated polka more animated near its center. The rhythm. The themes are reversed in theme of the sonata-form Finale is the recapitulation, with the second based on a boisterous Czech dance, subject, given this time by the violins the skacna. The movement’s second in octaves, coming frst and the clear theme is a folkish melody of initially restatement of the principal subject somber cast that is humored into a held in reserve until the coda. happier mood as it entwines with The dumka was a traditional Slavic the main theme in the development. (especially Ukrainian) folk ballad The recall of the themes in the of meditative character that often recapitulation and a rousing coda described heroic deeds. It acquired bring this splendid quartet to an various musical characteristics in exuberant close.

Quintet in A major for Piano, Violin, Viola, Cello, and Bass, D. 667, Op. 114, “Trout”

FRANZ SCHUBERT in the foothills of the Austrian Alps Born January 31, 1797 in Vienna. south of Linz and some 80 miles west Died November 19, 1828 in Vienna. of Vienna where Vogl was born and

to which he returned every summer. Composed in 1819. Duration: 38 minutes Schubert enjoyed the venture greatly, writing home to his brother, Early in July 1819, Franz Schubert Ferdinand, that the countryside was left the heat and dust of Vienna “inconceivably beautiful.” In Steyr, for a walking tour of Upper Austria Vogl introduced the composer with his friend, the baritone Johann to the village’s chief patron of Michael Vogl. The destination of the arts, Sylvester Paumgartner, the journey was Steyr, a small town a wealthy amateur cellist and an

CMS AT SPAC TUESDAY, AUGUST 7, 2018 the publisher Josef Czerny, who SYLVESTER PAUMGARTNER, promptly issued the score with this COMMISSIONER OF statement: “We deem it our duty to THE QUINTET, INSISTED draw the musical public’s attention THAT IT INCLUDE ONE OF to this work by the unforgettable HIS FAVORITE SONGS, composer.” SCHUBERT'S "THE TROUT" In his study of Schubert, Alfred Einstein wrote that the “Trout” ardent admirer of Schubert’s music. Quintet is music “we cannot help Paumgartner’s home was the site but love.” It is a work brimming of frequent local musical events— with good-natured, Biedermeier private musical parties were held in Gemütlichkeit, perfectly suited to the first floor music room as well as the intimate nature of Paumgartner’s in a large salon upstairs, decorated musical gatherings, closer in spirit with musical emblems and portraits to serenade than to sonata, and of composers, that also housed rarely hinting at the darker, Romantic his considerable collection of emotions that Schubert explored in instruments and scores. Albert his later instrumental works. The first Stadler, in his reminiscences of of the quintet’s five movements is an Schubert, reported that Paumgartner expansive, richly lyrical sonata form asked the composer for a new whose recapitulation begins in the piece that could be performed at subdominant key, one of Schubert’s his soirées, and stipulated that the favorite instrumental techniques for instrumentation be the same as extending the harmonic range and that of Hummel’s Grande Quintour color of his music. The Andante is of 1802 (piano, violin, viola, cello, a two-part form, a sort of extended bass). The work, he insisted, must song comprising two large stanzas. also include a movement based on Following the delightful Scherzo one of his favorite songs, Schubert’s comes the set of variations on Die own Die Forelle (The Trout) of 1817. Forelle, which lent the quintet its Schubert, undoubtedly flattered, sobriquet. The formal model for welcomed the opportunity, the movement was probably the and started sketching the work variations in Haydn’s “Emperor” immediately. He completed the Quartet (Op. 76, No. 3); as in that piece soon after returning to Vienna, work, the theme is presented and sent the score to Paumgartner once by each of the ensemble’s as soon as it was finished. There instruments, but its content is are no further records of the “Trout” distinctly and characteristically Quintet until 1829, a year after the Schubertian. A sonatina of decidedly composer’s death, when Ferdinand Gypsy-like cast closes this deeply sold his brother’s manuscript to satisfying work.

© 2018 Dr. Richard E. Rodda

CMS AT SPAC TUESDAY, AUGUST 7, 2018 ABOUT THE ARTISTS JOSEPH CONYERS Joseph H. Conyers, assistant principal bass of the Philadelphia Orchestra since 2010, joined Philadelphia after tenures with the Atlanta Symphony, Santa Fe Opera, and Grand Rapids Symphony where he served as principal bass. A 2004 Sphinx Competition laureate, he has performed with many orchestras as soloist and in numerous chamber music festivals collaborating with international artists and ensembles. In addition to being the most recent recipient of the C. Hartman Kuhn Award (the highest honor given to a musician in the Philadelphia Orchestra by music director Yannick Nézet-Séguin), he is the inaugural recipient of the Young Alumni Award from his alma mater, the Curtis Institute of Music, where he studied with Hal Robinson and Edgar Meyer. An advocate for music education, he is executive director of Project 440—an organization that provides young musicians with the career and life skills they need to develop into tomorrow's civic-minded, entrepreneurial leaders. Additionally, he is the music director of the All City Orchestra, which showcases the top musicians of the School District of Philadelphia. Project 440 partners with the School District in providing its curriculum in college and career preparedness, social entrepreneurship, and leadership. He is a frequent guest clinician presenting classes across the country including Yale University, New England Conservatory, The Colburn School, and University of Georgia. Mr. Conyers currently sits on the National Advisory Board for the Atlanta Music Project. He performs on the "Zimmerman/Gladstone" 1802 Vincenzo Panormo double bass which he has affectionately named “Norma.”

NICOLAS DAUTRICOURT Voted ADAMI Classical Discovery of the Year at Midem in Cannes and awarded the Sacem Georges Enesco Prize, Nicolas Dautricourt is one of the most brilliant and engaging French violinists of his generation. In the 2018-19 season he goes on tour in Bucharest, Montreux, and Lille with the Orchestre Français des Jeunes under Fabien Gabel, performing Saint-Saëns’s Third Concerto and Bartók’s Second Concerto, and makes his debut at the Paris Philharmonie with Prokofiev’s Second Concerto. He appears at major international venues, including the Kennedy Center, Wigmore Hall, Tchaikovsky Hall, Tokyo’s Bunka Kaikan, Salle Pleyel in Paris, and Théâtre des Champs-Élysées, and appears at many festivals such as Lockenhaus, Music@Menlo, Pärnu, Ravinia, Sintra, and Davos. He also has performed with the Detroit Symphony, Royal Philharmonic Orchestra, Orchestre National de France, Orchestre de Toulouse, Quebec Symphony, Liège Philharmonic, Sinfonia Varsovia, Mexico Philharmonic, NHK Tokyo Chamber Orchestra, and the Kanazawa Orchestral Ensemble,

CMS AT SPAC under conductors Leonard Slatkin, Paavo Järvi, Tugan Sokhiev, Dennis Russell Davies, Eivind Gullberg Jensen, Yuri Bashmet, Michael Francis, François-Xavier Roth, Fabien Gabel, and Kazuki Yamada. He appears in such jazz festivals as Jazz à Vienne, Jazz in Marciac, Sud-Tyroler Jazz Festival, Jazz San Javier, Copenhagen Jazz Festival, and the European Jazz Festival in Athens. Award winner of the Wieniawski, Lipizer, and Belgrade competitions, he has studied with Philip Hirschhorn, Miriam Fried, and Jean-Jacques Kantorow. A former member of CMS Two, he plays a magnificent instrument by Antonio Stradivari, the "Château Fombrauge" (Cremona 1713), on loan from Bernard Magrez.

SCHUMANN QUARTET The Schumann Quartet was praised by the Süddeutsche Zeitung as playing “staggeringly well… with sparkling virtuosity and a willingness to astonish.” This season the quartet continues its three-year Chamber Music Society Two residency. The quartet also tours the U.S. and gives performances at festivals in South America, Italy, and Switzerland, as well as at Mozart Week in Salzburg and the Mozartfest in Würzburg. Other performances include concerts in the important musical centers of London, Hamburg, Berlin, Amsterdam, Florence, and Paris. The quartet’s current album, Landscapes, in which it traces its own roots by combining works of Haydn, Bartók, Takemitsu, and Pärt, has been hailed enthusiastically both at home and abroad, receiving five Diapasons and being selected as Editor's Choice by BBC Music Magazine. The Schumann Quartet won the 2016 Best Newcomers of the Year Award from BBC Music Magazine for its previous CD, Mozart Ives Verdi. The quartet's other awards include premier prix at the 2013 Concours International de Quatuor à Cordes de Bordeaux, the music prize of the Jürgen Ponto Foundation in the chamber music category in 2014, and first prize in the 2012 Schubert and Modern Music competition in Graz, Austria. The 2016-17 season saw a tour to Japan, concerts at festivals such as the Rheingau and Schleswig Holstein Music Festival, and renewed engagements at the Tonhalle in Zürich, Wigmore Hall in London, and in Munich. , Menahem Pressler, and Albrecht Mayer also gave concerts with the quartet. The previous season the ensemble was quartet- in-residence at Schloss Esterházy, and gave the first performance of a string quartet by Helena Winkelman. The season also saw concerts in the Tonhalle Zürich, the Musikverein in Vienna, London's Wigmore Hall, and the Amsterdam; a tour of Israel; and the quartet's US debut in Washington, DC. The quartet has performed at many festivals, including Mecklenburg-Vorpommern, Lockenhaus, the Davos Festival, Menton Festival de Musique in France, Cantabile Festival in Portugal,

CMS AT SPAC the Rheingau Music Festival, and the Korsholm Music Festival in Finland. Other appearances include venues such as Kings Place in London, the Konzerthaus in Vienna, Palacio Real in Madrid, Teatro Verdi in Trieste, and the Muziekgebouw in Eindhoven, The Netherlands. Brothers Mark, Erik, and Ken Schumann grew up in the Rhineland. In 2012, they were joined by violist Liisa Randalu, who was born in the Estonian capital, Tallinn, and grew up in Karlsruhe, Germany. The quartet studied with Eberhard Feltz and the Alban Berg Quartet, and served as resident ensemble for many years at the Robert-Schumann-Saal in Düsseldorf.

GILLES VONSATTEL Swiss-born American pianist Gilles Vonsattel is an artist of extraordinary versatility and originality. He is the recipient of an Avery Fisher Career Grant and the Andrew Wolf Chamber Music Award, and winner of the Naumburg and Geneva competitions. He has appeared with the Munich Philharmonic, Orchestre Symphonique de Montréal, Boston Symphony, and San Francisco Symphony, and performed recitals and chamber music at Ravinia, Tokyo’s Musashino Hall, Wigmore Hall, Bravo! Vail, Chamber Music Northwest, La Roque d’Anthéron, Music@Menlo, the Lucerne festival, and Spoleto USA. Deeply committed to the performance of contemporary music, he has premiered numerous works both in the United States and Europe and worked closely with notable composers such as Jörg Widmann, Heinz Holliger, and George Benjamin. Recent and upcoming projects include appearances with the Chicago Symphony (Bernstein’s Age of Anxiety), Gothenburg Symphony (Messiaen’s Turangalîla Symphonie), Orchestra della Svizzera Italiana (Berg’s Kammerkonzert), Mozart concertos with the Vancouver Symphony and Florida Orchestra, as well as multiple appearances with the Chamber Music Society. A former member of Chamber Music Society Two, Mr. Vonsattel received his bachelor’s degree in political science and economics from Columbia University and his master’s degree from The Juilliard School. He is on the faculty of the University of Massachusetts at Amherst.

WU HAN Co-Artistic Director of the Chamber Music Society, pianist Wu Han is among the most esteemed and influential classical musicians in the world today. She is a recipient of Musical America’s Musician of the Year award, one of the highest music industry honors in the US, and has risen to international prominence through her wide-ranging achievements as a concert performer, recording artist, educator, arts administrator, and

CMS AT SPAC cultural entrepreneur. Wu Han appears extensively with CMS; as recitalist with cellist David Finckel; and in piano trios with violinist Philip Setzer. Along with David Finckel, she is the founder and artistic director of Music@ Menlo, Silicon Valley’s acclaimed chamber music festival and institute; co- founder and artistic director of Chamber Music Today in South Korea; and co-founder and artistic director of the Chamber Music Workshop at the Aspen Music Festival and School. Under the auspices of CMS, David Finckel and Wu Han also lead the LG Chamber Music School in South Korea. This spring BBC Music Magazine featured the duo on its cover CD. Beginning this fall, Wu Han will serve as Artistic Advisor of Wolf Trap’s Chamber Music at the Barns for two seasons. She is the co-creator of ArtistLed, classical music’s first musician-directed and Internet-based recording company, whose 19-album catalogue has won widespread critical praise as it celebrates its 20-year anniversary. Recent recordings include Wu Han LIVE II. Wu Han’s most recent concerto performances include appearances with the Aspen Chamber Orchestra, the Atlanta Symphony, and The Philadelphia Orchestra.

CMS AT SPAC ABOUT CMS The Chamber Music Society of Lincoln Center (CMS) is known for the extraordinary quality of its performances, its inspired programming, and for setting the benchmark for chamber music worldwide: no other chamber music organization does more to promote, to educate, and to foster a love of and appreciation for the art form. Whether at its home in Alice Tully Hall at Lincoln Center, on leading stages throughout North America, or at prestigious venues in Europe and Asia, CMS brings together the very best international artists from an ever-expanding roster of more than 150 artists per season, to provide audiences with the kind of exhilarating concert experiences that have led to critics calling CMS “an exploding star in the musical frmament” (The Wall Street Journal). Many of these extraordinary performances are livestreamed, broadcast on radio and television, or made available on CD and DVD, reaching thousands of listeners around the globe each season. Education remains at the heart of CMS’ mission. Demonstrating the belief that the future of chamber music lies in engaging and expanding the audience, CMS has created multi-faceted education and audience development programs to bring chamber music to people from a wide range of backgrounds, ages, and levels of musical knowledge. CMS also believes in fostering and supporting the careers of young artists through the CMS Two program, which provides ongoing performance opportunities to a select number of highly gifted young instrumentalists and ensembles. As this venerable institution approaches its 50th anniversary season in 2020, its commitment to artistic excellence and to serving the art of chamber music, in everything that it does, is stronger than ever.

UPCOMING EVENTS

MEET THE MUSIC! ALBERT AND WOLFGANG WEDNESDAY, AUGUST 8, 1:00 PM SPA LITTLE THEATRE In his day Einstein performed Mozart sonatas on the violin and played chamber music with professional musicians all over the world. Join us for an adventure with Einstein and Mozart! Concert for kids ages 6 and up and their families.

AN AFTERNOON IN VIENNA SUNDAY, AUGUST 12, 3:00 PM SPA LITTLE THEATRE Viennese composers Franz Schubert and Fritz Kreisler are showcased in this program with their hometown-inspired masterpieces. Join us 45 minutes before this concert for a panel discussion with the artists led by Kari Fitterer, CMS’s Director of Artistic Planning and Touring.

CMS AT SPAC WATCH CHAMBER MUSIC SOCIETY PERFORMANCES LIVE FROM ANYWHERE IN THE WORLD

Throughout CMS's 2018-19 season, view 25 unforgettable chamber music events streamed live to your computer or mobile device, and watch on demand up to 72 hours later. Browse the program, relax, and enjoy a front row seat from anywhere in the world.

www.ChamberMusicSociety.org/WatchLive

CMS AT SPAC Union College Concert Series 18-19

Uchida Belcea Quartet

Finckel & Han Keenlyside

Biss Padmore & Lewis Anderszewski

When SPAC’s season ends, we begin. 15 concerts by world-renowned artists. Tickets from $30.

unioncollegeconcerts.org 518-388-6080

CMS AT SPAC CMS AT SPAC Yannick Nézet-Séguin August 9 & 16 NEW FOR 2018 THURSDAY MATINEES SERIES SPONSORED BY THE WESLEY COMMUNITY August 2 Symphonic Shakespeare August 9 Young Virtuosi: Carnival of the Animals August 16 Captivating Classics

Lucas and Arthur Jussen August 9 Save 15% On Matinee Performances! Purchase amphitheatre seats for any matinee performance of The Philadelphia Orchestra and save 15%. Use coupon code CMSPO15 at checkout!

SPAC Box Office spac.org (518) 584-9330