2019–2020 Season Welcome

elcome to the 2019–2020 season!

Our 37th season breaks new ground on many fronts, with captivating artists whose rising reputations are the talk of the music world, new music you haven’t heard before, a fresh collaboration with the world of dance, and a tribute to some very old ground, namely, our planet Earth.

In October we welcome conductor Eric Jacobsen, co-founder of the ground-breaking ensemble The Knights, along with violinist Simone Porter, whose past few seasons were highlighted by performances with the LA Phil, Philadelphia Orchestra, and NY Phil…and she’s 23. On that same program we will perform the work of Brooklyn-based composer Caroline Shaw, the youngest-ever recipient of the Pulitzer Prize for Music. So much for crusty old classical music.

Through her visionary and boundary-busting programs conductor Rachael Worby has been re-defining the power of a symphony orchestra for many years. In December she is joined by the exquisite pianist HyeJin Kim and members of Ballet Hispanico, with a world premiere by composer Jed Feuer. In February she will lead the Phil and wunderkind violinist Ray Ushikubo.

Our April concert coincides with the 50th Anniversary of Earth Day, and our program is equal to the moment. Conductor Jayce Ogren will lead two works composed as love letters to our planet, Mendelssohn’s Hebrides Overture and Copland’s Appalachian Spring. But 2020 also happens to be the 250th birthday of a fellow named Beethoven, so his 4th Piano Concerto will be performed by the Phil with Israeli pianist Ran Dank.

Breaking new ground is what the Westchester Philharmonic does every day of every season, with new music, new musicians, and new ideas.

Welcome to today’s concert. And welcome to the “Phil Family”. Board of Directors Neil Aaron – Tony Aiello – Millicent Kaufman, Chair Emerita Christina Maurillo, Treasurer – Numa Rousseve, Chairman Hannah Shmerler – Murray Stahl, Vice Chair – Lisa A. Tibbitts Joshua Worby, Executive & Artistic Director

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2019–2020 Season Meet the ORCHESTRA Musicians of the Westchester Philharmonic

VIOLIN CELLO FRENCH HORN Robert Chausow, Eugene Moye, Principal Peter Reit, Principal Concertmaster Roberta Cooper Will De Vos Michael Roth, Lanny Paykin Lawrence DiBello Principal Second Violin Sarah Carter Nancy Billmann Robin Bushman, Eliana Mendoza Associate Concertmaster Maureen Hynes TRUMPET Martin Agee Maxine Neuman Lowell Hershey, Principal Diane Bruce Lorraine Cohen Victor Heifets BASS Wayne duMaine Elizabeth Kleinman Jordan Frazier, Principal Barbara Long Jack Wenger TROMBONE Wende Namkung Gregg August Hugh Eddy, Principal Elizabeth Nielsen Jered Egan Michael Seltzer Laura Oatts Dorothy Strahl FLUTE TUBA Sander Strenger Laura Conwesser, Principal Marcus Rojas, Principal Moira Tobey Rie Schmidt Carlos Villa Sheryl Henze PERCUSSION Carolyn Wenk-Goodman Ben Herman, Timpani Deborah Wong OBOE James Saporito, Principal D. Paul Woodiel Melanie Feld, Principal Kathy Halvorson HARP VIOLA Sara Cutler, Principal Kyle Armbrust, Principal CLARINET Sandra Robbins John Moses, Principal KEYBOARD Liuh Wen Ting Stephen Hart Christopher Oldfather, Leslie Tomkins Principal Jessica Troy BASSOON Frank Morelli, Principal LIBRARIAN Harry Searing Kristen Butcher

PERSONNEL MANAGERS Jonathan Hass & Neil Balm

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Joshua Worby, Executive & Artistic Director

ppointed as Executive for which he and his partners were accorded Director in 2006, Joshua numerous industry honors and awards, Worby oversees the including Forbes Magazine’s “Best of the Best.” Westchester Philharmonic’s A former clarinetist, Mr. Worby received programming, administration, operations, his Bachelor of Arts in Music Theory and educational programs, and fundraising. Since Composition from the Crane School of Music 2008 he has also been chief architect of the at SUNY Potsdam with interdisciplinary studies Philharmonic’s concert seasons, programming in theater and dance. As a graduate theater repertoire and engaging and collaborating with student at Columbia University he studied conductors and soloists including Raymond directing and acting with Jose Quintero and Leppard, Jeremy Denk, Nadja Salerno- Bernard Beckerman, while also composing and Sonnenberg, Kazem Abdullah, Edgar Meyer, performing live sound scores Off- Broadway Andrew Litton, Jahja Ling, Marvin Hamlisch, for Richard III, Slaveship, and the U.S. debut Cho-Liang Lin, Jaime Laredo, Ted Sperling, of Cao Yu’s Peking Man, a collaboration with George Manahan, Jorge Mester, Tomomi Arthur Miller. At the Roundabout Theatre Nishimoto, and Itzhak Perlman. he composed and performed as an onstage Prior to the Phil, Mr. Worby was the musician-actor in Enrico IV and Rosencrantz Executive Director of the Princeton Symphony and Guildenstern Are Dead. Orchestra from 2001-2006, where he effected Mr. Worby serves on the New York State nearly double overall growth in attendance, Council for the Arts special diversity task force, contributions, and musicians’ wages. and, in 2016 was recognized as a “Diversity Before entering the orchestra field, Mr. Worby Champion” by the Westchester & Fairfield worked in the for-profit business arena. At the County Business Journals for his unique National Basketball Association he managed accomplishments, community involvement and licensing and sponsorships, including the roll- diversity advocacy. He serves as a panelist on outs of the inaugural 1992 “Dream Team,” the NYSCA’s Regional Economic Development WNBA, and the NBA Store on Fifth Ave. He Council and has served on the boards of the later co-founded one of the earliest e-commerce League of American Orchestras, the New businesses, Justballs! a sporting goods website School for Music Study, New Jersey Tap Ensemble, and New Jersey Opera.

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Sunday, October 27, 2019, at 3 pm Breaking New Ground The Eugene and Emily Grant Opening Concert Eric Jacobsen, conducting Simone Porter, violin

CAROLINE SHAW (B. 1982) Entr’Act for strings

SAMUEL BARBER (1910–1981) Concerto for Violin and Orchestra, Op.14 I. Allegro moderato II. Andante III. Presto in molto perpetuo

Ms. Porter

Intermission

JOHANNES BRAHMS (1833–1897) Symphony No. 2 in D Major, Op. 73 I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso IV. Allegro con spirito

This season is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. This season is made possible by ArtsWestchester with support from Westchester County Government.

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Entr’acte (2011) for strings Entr’acte was written after hearing CAROLINE SHAW the Brentano Quartet play Haydn’s Born 1 August 1982 in Greenville, Quartet Op.77 No.2 — with their North Carolina spare and soulful shift to the D-flat Currently residing in New York City major trio in the minuet. It is structured like a minuet and trio, • Entr’acte originated as a movement riffing on that classical form but taking for string quartet it a little further. I love the way some • Shaw’s concept was a new take on the music (like the minuets of Opus 77) Haydn-esque minuet/trio combination suddenly takes you to the other side • She describes it as “a kind of absurd, of Alice’s looking glass, in a kind of subtle, technicolor transition” absurd, subtle, technicolor transition.

Caroline Shaw broke through to the We hear it in Ms. Shaw’s arrangement for forefront of the international new music string orchestra. world in 2013 when her Partita for 8 voices won the Pulitzer Prize in music. She was the youngest composer ever to Concerto for Violin and Orchestra, Op.14 receive that prestigious award. She studied SAMUEL BARBER at Rice, Yale, and Princeton, and currently Born 9 March, 1910 in serves on the faculty at NYU and as a West Chester, Pennsylvania Creative Associate at Juilliard. Died 23 January, 1981 in New York City

Though she is not yet 40, Shaw’s career • Barber’s roots were in vocal music; has soared. She has fulfilled commissions this concerto sings throughout from soprano Renée Fleming, pianist • Departing from traditional concerto Inon Barnatan, the Dover and Calidore technique, the first movement Quartets, So− Percussion, and the explores lyrical, rhapsodic realms Baltimore Symphony, among others. • The finale makes up for it in a Last season Jonathan Biss was soloist perpetual motion whirlwind of in Watermark, Shaw’s new piano violin fireworks concerto for the Seattle Symphony; the LA Philharmonic commissioned An unabashed romantic in an era and introduced her The Observatory of dizzying musical change and for orchestra. She remains active as a experimentation, Samuel Barber performer, both as a violinist and as a acknowledged modernism without singer with A Roomful of Teeth. Caroline ever turning his back on the rich tonal loves the color yellow, otters, Beethoven’s tradition that gave rise to so many other Quartet Opus 74, Mozart’s operas, “isms” of 20th-century music. Nowhere Kinhaven, the smell of rosemary, and the is his gift more evident or immediately sound of a janky mandolin. accessible than in his Violin Concerto, completed in 1939. Entr’acte originated as a single movement for string quartet. Shaw has written: This Janus-faced piece embraces the old guard of diatonicism and ventures forth into less well-charted rhythmic and atonal waters. Its oddly duplicitous musical 10 WESTCHESTER PHILHARMONIC | 2019–2020 SEASON Program Notes - CONCERT I personality is the more arresting because Alpine paradise of the coincidence of its composition in the very early days of the Second World “So many melodies fly about that one War. Forced to leave Europe as war must be careful not to tread on them.” loomed, Barber composed the first two So wrote Johannes Brahms to friends movements in Europe, completing the in Vienna during the summer of 1877. concerto back in the USA. His rapturous observation was prompted by the beautiful mountain village of Long, expressive melodic lines dominate Pörtschach am Wörthersee in the province the first two movements, a celebration of of Carinthia. Brahms enjoyed Pörtschach the violin’s essentially lyrical character. enough to return for two additional They stand in marked contrast to the summers, producing along the way three nervous, aggressive excitement of the major works of strikingly similar spirit: finale. While we are never in doubt the D major Symphony, Op.73 (1877), that the violinist is the boss throughout the D major Violin Concerto, Op.77 this piece, Barber makes imaginative (1878) and the G major Violin Sonata, use of his orchestra. He incorporates Op.79 (1879). piano — an unusual component of a violin concerto’s accompanying fabric Of the three, the Second Symphony is — with such understated skill that the perhaps the most amazing, not because it keyboard is never conspicuous. Similarly, is better than the other two, but because he includes effective orchestral solos, it is so different from what preceded it. most prominently for clarinet in the Brahms labored over his First Symphony first movement, for oboe in the Andante for two decades. Always his own most sostenuto, and briefly for timpani, severe critic, he waited until he had establishing the galvanized rhythm of reworked musical material, forging it into the brilliant finale. a form that met his own high standards. Consequently, the First Symphony reflects Barber scored the concerto for musical ideas — and internal struggle — woodwinds, horns and trumpets in pairs, dating back as early as 1854. timpani, piano, solo violin and strings. He adds military drum for the third Floodgates opened: movement only. composing with ease

By contrast, the Second Symphony Symphony No. 2 in D major, Op. 73 unfolded naturally and rapidly, ready JOHANNES BRAHMS for its premiere barely more than a year Born 7 May, 1833 in Hamburg, Germany on the heels of its predecessor. It is as Died 3 April, 1897 in Vienna, Austria if the floodgates were opened; the next symphony poured out of him with fluid • Summer music! Think sunshine, blue grace. Once Brahms had cleared the skies, and gorgeous mountain scenery hurdle of that first major orchestral work, • Listen for a hint of the Brahms ideas streamed forth from him, and such Lullaby theme in the first movement ideas! “It is all rippling streams, blue • All four movements are in major sky, sunshine and cool green shadows. mode. Brahms was thinking good How beautiful it must be at Pörtschach!” weather, good mood, good times exclaimed the composer's friend Theodor WESTCHESTERPHIL.ORG | 914-682-3707 11 Program Notes - CONCERT I

Billroth, upon hearing the new symphony it has dramatic moments, notably a fugal played through at the piano. development section, the first movement firmly establishes an aura of benign Brahms’s “Pastoral” Symphony geniality that prevails for most of the symphony. The coda includes a dreamy Often called “Brahms’s ‘Pastoral’,” Op.73 horn solo, one of those delicious scoring overflows with the dappled sunlight and details that rewards careful listening. exquisite natural beauty of the Austrian Alps. It is nearly devoid of the tension Spotlight on cellos and low brass and tragic struggle that permeate the First Symphony. Eduard Hanslick, the The rich key of B major provides the powerful Viennese critic, spoke of its backdrop for a rare hint of darkness in this “untroubled charm.” Yet the symphony predominantly sunny symphony. Brahms’s is not without urban sophistication. slow movement, Adagio non troppo, begins Michael Musgrave has written: “The with a luscious, expressive cello melody. Second Symphony opens in the world of Though the celli relinquish the melody the symphonic waltz, as made familiar at its second statement, they reclaim it in Vienna by Johann Strauss, Jr.” several times, and retain a high profile Confounding us further, Brahms expands throughout the movement. Surprisingly, his orchestra to include trombones and Brahms emphasizes the darker sound bass tuba in three of the four movements. of the lower instruments by retaining Their brassy presence is belied by the timpani, trombones and bass tuba in his tenderness and intimacy of his music. scoring; frequently they remain silent in Brahms’s biographer Karl Geiringer slow movements. has noted: A transitional passage switches meter from The whole atmosphere of this work is 4/4 to 12/8, ushering in a contrasting reflected in its instrumentation, which middle section in B minor. Clouds is more delicate, more translucent, and temporarily obliterate the sunshine before definitely brighter than that of the First a poignant oboe solo reintroduces the Symphony, the pastoral flutes, oboes, cello melody of the beginning. and clarinets receiving particularly prominent parts. The Schubert connection

The seductive power of waltzes Timpani and low brass disappear in the Allegretto grazioso. More an intermezzo The first movement is in gentle, swaying than a scherzo, this gentle movement triple time. While not unprecedented in rocks gracefully between major and minor a symphonic first movement (Mozart’s modes, recalling similar ambivalence in #39 and Beethoven’s “Eroica” are the Schubert. Its two intervening trio sections most famous examples), triple time was (one in 2/4, the other in 3/8), have a still unusual in Brahms’s day. Far from sprightlier character, but still draw their apologizing for it, he emphasized it with melodic motives from the Allegretto. Both a frankly waltz-like second subject, closely trios include some fine woodwind passages. related to his beloved Lullaby. Though

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Contrapuntal tour de force Brahms’s Second Symphony is scored for flutes, oboes, clarinets and bassoons in Brahms the contrapuntalist is in rare pairs; 4 horns, 2 trumpets, 3 trombones, form in the finale, applying virtually bass tuba, timpani and strings. every technique in the imitative book. After a bright start for strings alone, he takes maximum advantage of the episodes Program notes by Laurie Shulman © 2019 in this sonata-rondo for ingenious First North American Serial Rights Only contrapuntal feats. Canon and inversion, augmentation and diminution, fugato: all are incorporated with consummate skill. The sunshine of the first movement is definitively restored, with a healthy dash of Haydnesque exuberance thrown in for good measure.

WESTCHESTERPHIL.ORG | 914-682-3707 13 infectiously engaged indie ensemble” (New York Times) at such venues as Central Park’s Naumburg Orchestral Concerts, Celebrate Brooklyn! Festival, (Le) Poisson Rouge, the 92nd Street Y, Carnegie Hall, and Lincoln Center, and summer music festivals at Tanglewood, Ravinia, and Ojai, and international venues such as the Cologne Philharmonie, Düsseldorf Tonhalle, the Salzburg Großes Festspielhaus, the Vienna Musikverein, National Gallery of Dublin, and the Dresden Musikfestspiele. In their spring 2017 European tour, Jacobsen conducted The Knights in the new Hamburg Elbphilharmonie and completed a week- long residency with them at the Easter Festival (Festival de Pâques) in Aix-en- Provence. Recent collaborators include violinist Itzhak Perlman, singers Dawn Upshaw, Susan Graham, and Nicholas Eric Jacobsen, conductor Phan, and pianists Emanuel Ax and Jean-Yves Thibaudet.

ailed by Under Jacobsen’s baton, The Knights the New have developed an extensive recording York Times as “an collection, which includes the recently interpretive dynamo,” released, critically acclaimed albums Azul, conductor and cellist with longtime collaborator Yo-Yo Ma, Eric Jacobsen has built a reputation for as well as the Prokofiev Concerto in the engaging audiences with innovative and Grammy-nominated Gil Shaham album collaborative programming. 1930s Violin Concertos. The Knights ​ issued three albums for Sony Classical Jacobsen is Co-Artistic Director and including Jan Vogler and The Knights conductor of The Knights, and serves Experience: Live from New York; New as the Music Director for the Orlando Worlds, and an all-Beethoven album, Philharmonic, the Greater Bridgeport as well as the “smartly programmed” Symphony, and as Artistic Partner with (National Public Radio) A Second in the Northwest Sinfonietta. Jacobsen Silence on the Ancalagon label. Jacobsen’s founded the adventurous orchestra The first release on Warner Classics was the Knights with his brother, violinist Colin ground beneath our feet. We Are The Jacobsen, to foster the intimacy and Knights, a documentary film produced camaraderie of chamber music on the by Thirteen/WNET, premiered in orchestral stage. As conductor, Jacobsen September 2011. has led the “consistently inventive,

14 WESTCHESTER PHILHARMONIC | 2019–2020 SEASON Eric Jacobsen

At the close of a successful second season A dedicated chamber musician, Jacobsen with the Orlando Philharmonic Orchestra, is a member of Yo-Yo Ma’s Silk Road Jacobsen has begun to pioneer the Ensemble, participating in residencies orchestra’s programming and community and performances at the Hollywood engagement in new and exciting Bowl, Carnegie Hall, and across the U.S., directions. A particularly well received Central Asia, Middle East, Far East, Mozart’s Die Zauberflöte led to the and Europe. In addition, as a founding programming of two opera productions member of the string quartet Brooklyn in the 2016-2017 season with directors Rider — dubbed “one of the wonders Alison Moritz and Mary Birnbaum. The of contemporary music” (Los Angeles “charming and funny” (Orlando Sentinel) Times) — he has taken part in a wealth production of Bernstein’s Candide at the of world premieres and toured extensively Orlando Philharmonic was remounted and in North America, Europe, and Asia, and toured with The Knights in the 2018- is credited with helping to ensure “the 2019 season. Jacobsen is also in demand future of classical music in America” as a guest conductor, and led Camerata (Los Angeles Times). Bern in the first European performance of ​ Mark O’Connor’s American Seasons, with In December 2012, Jacobsen and his the composer as soloist. He has conducted brother Colin were selected from among the symphony orchestras of Baltimore, the nation’s top visual, performing, media, Detroit, Alabama, the New World, and literary artists to receive a prestigious Naples, St. Paul Chamber Orchestra, the United States Artists Fellowship. Eric splits ProMusica Chamber Orchestra, and the his time between New York and Orlando. Deutsche Philharmonie Merck. He is married to singer-songwriter Aoife ​ O’Donovan and recently become a parent.

WESTCHESTERPHIL.ORG | 914-682-3707 15 Highlights of Simone’s 2019/20 season include performing Beethoven with the Colorado Symphony, Mendelssohn with New Jersey Symphony, Brahms with the Pacific Symphony, and the Brahms Double Concerto with the Charlotte Symphony. She also tours extensively throughout the U.S., including concerts with the Wyoming, Arkansas, Santa Rosa, Amarillo, Pasadena, Fairfax, and Midland Symphonies; the Rochester, Westchester, and Greater Bay Philharmonics; and the Sarasota Orchestra and the Northwest Sinfonietta.

At the invitation of Esa-Pekka Salonen, Simone performed his work Lachen verlernt’ (“Laughing Unlearnt”), at the New York Philharmonic’s “Foreign Bodies,” a multi-sensory celebration of the work of the composer and conductor. Simone Porter, violin In recent seasons, she has also appeared at the Edinburgh Festival performing Barber under the direction of Stéphane iolinist Simone Porter Denève, and at the Mostly Mozart Festival has been recognized performing Mozart under Louis Langrée. as an emerging artist She has also performed with the Los of impassioned energy, Angeles Philharmonic at the Hollywood interpretive integrity, and Bowl with both Nicholas McGegan and vibrant communication. In the past few Ludovic Morlot, and at Walt Disney years she has debuted with the New York Concert Hall with Gustavo Dudamel. Philharmonic, the Philadelphia Orchestra, Other orchestras with whom she has the Los Angeles Philharmonic; and with appeared in recent seasons include the a number of renowned conductors, Detroit, Cincinnati, Houston, Seattle, including Stéphane Denève, Gustavo Pittsburgh, Indianapolis, Nashville, Utah, Dudamel, Yannick Nézet-Séguin, and Baltimore Symphonies, and the Nicholas McGegan, Ludovic Morlot, Minnesota Orchestra. She also made her and Donald Runnicles. Born in 1996, Ravinia Festival recital debut, her debut Simone made her professional solo debut at the Grand Teton Music Festival, and at age 10 with the Seattle Symphony and multiple solo performances as a guest artist her international debut with the Royal at the Aspen Music Festival. Philharmonic Orchestra in London at age 13. In March 2015, Simone was named a Internationally, Simone has performed recipient of an Avery Fisher Career Grant. with the Simón Bolívar Symphony Orchestra with Gustavo Dudamel; the Orquestra Sinfônica Brasileira in Rio de

16 WESTCHESTER PHILHARMONIC | 2019–2020 SEASON Simone Porter

Janeiro; the National Symphony Orchestra Raised in Seattle, Washington, Simone of Costa Rica; the City Chamber studied with Margaret Pressley as a Orchestra of Hong Kong; the Royal recipient of the Dorothy Richard Starling Northern Sinfonia; the Milton Keynes Scholarship, and was then admitted into City Orchestra in the United Kingdom; the studio of the renowned pedagogue and the Opera de Marseilles. Robert Lipsett, with whom she studied at the Colburn Conservatory of Music in Los Simone made her Carnegie Zankel Hall Angeles. Summer studies have included debut on the Emmy Award-winning TV many years at the Aspen Music Festival, show From the Top: Live from Carnegie Indiana University’s Summer String Hall followed in November 2016 by Academy, and the Schlern International her debut in Stern Auditorium. In June Music Festival in Italy. 2016, her featured performance of music from Schindler’s List with Maestro Simone Porter performs on a 1740 Carlo Gustavo Dudamel and members of the Bergonzi violin made in Cremona Italy American Youth Symphony was broadcast on generous loan from The Master’s nationally on the TNT Network as part University, Santa Clarita, California. of the American Film Institute’s Lifetime Achievement Award: A Tribute to John Williams.

WESTCHESTERPHIL.ORG | 914-682-3707 17 premieres by pianist Jonathan Biss with the Seattle Symphony, Anne Sofie von Otter with Philharmonia Baroque, the LA Philharmonic, and Juilliard 415. Caroline’s Caroline Shaw, composer film scores include Erica Fae’s To Keep the Light and Josephine Decker’s Madeline’s Madeline as well as the upcoming short aroline Shaw is a 8th Year of the Emergency by Maureen New York-based Towey. She has produced for Kanye West musician — vocalist, (The Life of Pablo; Ye) and Nas (NASIR), violinist, composer, and and has contributed to records by The producer — who performs National, and by Arcade Fire’s Richard in solo and collaborative projects. She was Reed Parry. Once she got to sing in three the youngest recipient of the Pulitzer Prize part harmony with Sara Bareilles and for Music in 2013 for Partita for 8 Voices, Ben Folds at the Kennedy Center, and written for the Grammy-winning Roomful that was pretty much the bees’ knees and of Teeth, of which she is a member. elbows. Caroline has studied at Rice, Recent commissions include new works Yale, and Princeton, currently teaches at for Renée Fleming with Inon Barnatan, NYU, and is a Creative Associate at the Dawn Upshaw with So− Percussion and Juilliard School. She has held residencies Gil Kalish, the Orchestra of St. Luke’s at Dumbarton Oaks, the Banff Centre, with John Lithgow, the Dover Quartet, Music on Main, and the Vail Dance TENET, The Crossing, the Mendelssohn Festival. Caroline loves the color yellow, Club of Philadelphia, the Calidore otters, Beethoven opus 74, Mozart opera, Quartet, Brooklyn Rider, the Baltimore Kinhaven, the smell of rosemary, and the Symphony, and Roomful of Teeth with sound of a janky mandolin. A Far Cry. The 2018-19 season will see

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CONCERT II

Sunday, December 8, 2019, at 3 pm A Vision of Sound Rachael Worby, conducting HyeJin Kim, piano Members of Ballet Hispánico, Eduardo Vilaro, artistic director

WORKS TO BE ANNOUNCED FROM THE STAGE:

Billy Strayhorn, George Gershwin, Leonard Bernstein, Duke Ellington, Paquito D’Rivera, and Jed Feuer (world premiere)

© Paula Lobo

This season is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. This season is made possible by ArtsWestchester with support from Westchester County Government.

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Danzón in C, an ophicleide [an obsolete brass PAQUITO D’RIVERA instrument, generally played by tuba Born 4 June, 1948 in Havana, Cuba in modern performances] or valve trombone (sometimes both!), a couple • At home in jazz, classical, and of timbales and a guïro [a hollow gourd Latin popular music, Paquito with ridges on its exterior that are D’Rivera is a polymath scraped]. Later on, at the beginning • Danzón is a 19th-century Cuban of the 20th century, the Charanga dance that has transformed itself in orchestras, also called Francesas the modern era (French), appeared on the scene and • Rivera’s music has gentle swing, included one or several violins, a piano, foot-tapping rhythms, and double bass, timbales, guïro, and flute. delicious melodies This Danzón is a both sexy and sweet, Cuban clarinetist, saxophonist, and introspective and in your face. D’Rivera composer Paquito D’Rivera has myriad packs a lot of ideas into five minutes, and passions: jazz and swing, Cuban folk makes its Cuban dance inspiration clear. music, Argentinian tango and milonga, borderline atonal dissonance, and good old-fashioned boogie-woogie. The result Rhapsody in Blue in his compositions is a feast for the senses, GEORGE GERSHWIN especially if you free your imagination. Born 26 September, 1898 in Not all these styles surface in every one Brooklyn, New York of his works, but he is always flexible and Died 11 July, 1937 in imaginative in his treatment harmony Beverly Hills, California and rhythm. Rivera’s music inhabits its own sound world. Modernist touches • Gershwin wrote his Rhapsody for a commingle effortlessly with the Cuban 1920s jazz band popular elements that are his birthright, • That glorious upward clarinet and the jazz he has assimilated. He is glissando at the start sets the equally at home in classical, pop, and sultry tone Latin music. • Gershwin was a pioneer in adapting jazzy improvisation in a quasi- The Danzón is a poular Cuban dance that classical format originated in the 19th century and has • The two large sections feature more or less continuously reinvented itself multiple piano cadenzas — and one since. D’Rivera has written: magnificent igB Tune

The danzón, created in 1879 by Miguel If tomorrow’s newspaper were to announce Failde, a cornet player from the city a concert of American music, at which a of Matanzas, is a direct descendant of committee of judges would decide what the Cuban danzas and contradanzas American music is, they would face a very that were played in ballrooms back in lengthy evening, and the event would Cuba’s colonial past. In those days the face skepticism, if not outright ridicule. typical dance orchestra was comprised Such a newspaper article actually ran in of one cornet, two violins, two clarinets January 1924 in the New York Tribune,

22 WESTCHESTER PHILHARMONIC | 2019–2020 SEASON Program Notes - CONCERT II announcing that Irving Berlin, Victor closely with Whiteman. Gershwin had Herbert, and George Gershwin would no background in orchestration (although introduce new compositions on the Victor Herbert agreed to teach him shortly program. The paper reported: after this Rhapsody was completed). Grofé’s accomplishment was masterly, George Gershwin is at work on and contributed greatly to Rhapsody in a jazz concerto, Irving Berlin is Blue’s success. writing a syncopated tone poem, and Victor Herbert is working on an The long arm of influence: Gershwin’s American Suite. American classic

It was news to Gershwin. He had The work has had an extraordinary impact planned a collaboration with jazz band on the history of American music and leader Paul Whiteman, whom he had culture. Although some critics objected met in 1922, but the details had not yet to Gershwin’s lack of traditional formal been determined. discipline, the audience loved the piece. Everyone — even the most disdainful The original jazz concerto? critics — acknowledged the freshness of the musical ideas. Rhapsody in Blue Gershwin was 25, ambitious, talented, and positioned Gershwin as the great hope unschooled. Recognizing the commercial of American music. and professional potential of the American music event, he and Whiteman decided Gershwin later told his first biographer, to make the new piece happen. They Isaac Goldberg: agreed on a free-form composition for Whiteman’s band featuring solo piano. I heard it as a musical kaleidoscope Gershwin sketched the score in a two- of America, of our vast melting pot, piano version that initially bore the title of our national pep, of our blues, our “American Rhapsody;” and by the time metropolitan madness. of the premiere on 12 February, 1924, it had acquired its present title. In a matter That description helps to explain the of weeks the piece was drafted. Only a capriciousness and vivid snapshots in few pre-existing ideas found their way Gershwin’s music. The Rhapsody consists into the Rhapsody, but one was seminal: of two large sections that are peppered the fabulous clarinet glissando that soars with improvisatory solo piano cadenzas. upward at the start, setting the whole Major rhythmic ideas dominate the first sultry tone of the work, was already in half, with extensive, non-traditional Gershwin’s sketchbooks. development. The slow E major section that contains the Rhapsody’s most famous Whiteman suggested that Ferde Grofé melody is the emotional heart of the (1892-1972) orchestrate the Rhapsody. work, but gives way to a showy and Today, Grofé’s reputation rests primarily virtuosic close. on his splendid and colorful Grand Canyon Suite (1931). In 1924, he was highly respected as a band composer and arranger, and he had already worked

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The traditional assessment of Rhapsody Ferde Grofé’s original score was for in Blue pegs it as popular music plunked Whiteman’s jazz band. Two years later squarely into the traditional concert hall, he did another scoring for full orchestra, thereby imparting an unaccustomed aura calling for two flutes, two oboes, two of legitimacy to an American composer. clarinets, bass clarinet, two bassoons, four For the entire balance of his tragically horns, three trumpets, three trombones, short life, Gershwin craved acceptance tuba, timpani, drums, solo piano, three from the world of art music. Those who saxophones, banjo, and strings. object to the meandering structure of this piece overlook that a Rhapsody is, by definition, a free fantasy, often of epic Program Notes by Laurie Shulman ©2019 character. On that level Gershwin succeeds First North American Serial Rights Only brilliantly. His incomparable piano writing retains its spontaneity and panache 70 years after he improvised so much of it on opening night.

Put it in Writing. With a properly planned legacy gift, you not only help strengthen the orchestra, you may also be able to reduce your income and estate taxes, avoid capital gains tax, and increase your income stream. We love spontaneity, especially in music. But a budget always works better with a plan, and a legacy gift to the orchestra makes that plan stronger and more reliable. There are three simple ways to have a lasting impact on the music with a legacy gift: • Include the Phil as a beneficiary of your will or trust; • Name the Phil as a beneficiary of your IRA, 401(k), or other qualified retirement plan; • Establish a Charitable Gift Annuity that will provide you with a fixed and guaranteed income for life. To learn more contact us at (914) 682-3707 or [email protected].

24 WESTCHESTER PHILHARMONIC | 2019–2020 SEASON With MUSE/IQUE, Rachael Worby brings together members from every part of the community, connecting performers from various disciplines with audiences of all ages through curated experiences designed to challenge preconceived notions about the concert-going experience, and “illuminate the world around us.” Enlarging the conversation about community, the organization’s dynamic, inclusive events take place in unexpected, non-traditional venues throughout the Los Angeles area. MUSE/ IQUE creates an intimate experience for all with an untraditional policy of in- the-round seating with no intermissions and no backstage areas, strengthening the bond between performers and audiences. Through an expansive, carefully curated outreach program, the organization has developed strong, ongoing immersive Rachael Worby, conductor relationships with 14 separate nonprofits throughout the region that include season performances. usician. Innovator. Rachael Worby has guest conducted Curator. throughout Europe, South America, Rachael Worby is Australia and Asia. Her many honors an inspirational include serving on the National Council American conductor of the Arts for four years as an appointee renowned for successfully reimagining of President Bill Clinton. She has held the traditional concert format as well as multiple posts in the classical music world, dissolving the barriers that exist between including serving as Music Director performers and audiences. With her and Conductor of Wheeling Symphony passionate, versatile command of musical Orchestra (1986-2003), founding the genres, Rachael creates memorable, one- American Music Festival in Bucharest and of-a-kind, live multi-disciplinary events Cluj, Romania, and leading the Pasadena that expand today’s cultural landscape Pops from 2000-2010. Earlier posts as Artistic Director and Conductor of include Music Director and Conductor California’s pioneering MUSE/IQUE, of Carnegie Hall’s Young People’s which she founded in 2011. Concerts, stepping into the former post of her idol Bernstein, and Assistant Conductor for Youth Concerts at the Los Angeles Philharmonic.

WESTCHESTERPHIL.ORG | 914-682-3707 25 thrilled about her flawless musicality and technique, which promises success as an internationally recognized pianist.’ Since then, Ms. Kim has received numerous awards including prizes at the 2008 Hong Kong International Piano Competition, DAAD Prize, Steinway and Sons Advancement Award Competition, and Toronto International Piano Competition. She has performed and toured with numerous orchestras such as the Russian State Philharmonic, Konzerthaus Orchester, Pacific Symphony Orchestra, Praha Broadcast and Budapest Symphony Orchestras; Bohuslav Martinu˚, Seoul, Dae- jeon, Pilsen, and Moravian Philharmonic Orchestras; and the State Symphony Orchestra of St. Petersburg, Nürnberger Symphoniker, Nordwestdeutsche Philharmonie, and Hessischer Rundfunk Sinfonieorchester. She has worked with HyeJin Kim, piano noted conductors including Eliahu Inbal, Carl St. Clair, Christoph Poppen, Achim Fiedler, Yehuda Gilad, Tomáš Hanus, raised by critics Shi-yeon Sung, Dae Jin Kim, Jiri Malat, for her “passionate… and Andrés Orozco-Estrada. polished and expressive” performances, pianist HyeJin Ms. Kim has been invited to participate Kim is one of South Korea’s most thrilling in international venues and music festivals young classical stars. Born in Seoul, she including the Konzerthaus of Berlin, began playing piano at age five, and Herkulessaal of Munich, Rudolfinum/ later enrolled at the prestigious Yewon Dvorak Hall and Smetana Hall of Prague, Arts School. She furthered her studies in Seoul Arts Center, Marvão Music Festival, Germany, earning her master of art in Napa Valley Festival, Klavier Festival musical art as a “Konzertexamen” (highest Ruhr, Korea Symphony Festival, Cesky distinction) from Berlin’s Hochschule für Krumlov Festival, Praha Spring Festival, Musik Hanns Eisler. She recently received and Kotor Arts Festival, among others. an artist diploma at the Colburn School Ms. Kim has participated in master classes in its Conservatory of Music, where she with artists such as Jean-Yves Thibaudet, studied with Fabio Bidini. Yoheved Kaplinsky, Jerome Rose, Robert ​ McDonald, Aquiles Delle Vigne, Bernd Ms. Kim first attracted international Geotzke, John O’Connor, Arnold attention at age 17 when, as its youngest Steinhardt, Clive Greensmith, Martin participant, she won third prize in Italy’s Beaver, Robert Lipsett, and the Opus prestigious Busoni Competition. Andrea One Quartet. Bonatta, the head of the jury, said ‘I am

26 WESTCHESTER PHILHARMONIC | 2019–2020 SEASON HyeJin Kim

Ms. Kim made her major label Robert Kapilow on National Public Radio, debut in 2013 with her recording of chamber concerts with the Salastina Music Rachmaninoff’s Piano Concertos Nos. 1 Society including the west coast premiere and 2, with the Armenian Philharmonic of Fanny Mendelssohn’s Easter Sonata and Orchestra led by Eduard Topchjan, on a U.K. tour of Rachmaninoff’s Second Sony Classical. In 2016, Ms. Kim made Piano Concerto with the Russian State her Carnegie Hall recital debut performing Philharmonic under the baton of music of Scarlatti, Brahms, Rachmaninoff, Valery Polyansky. Barber, and Gershwin. She made her ​ west coast debut with George Gershwin’s In fall 2018, Ms. Kim began teaching Rhapsody in Blue with MUSE/IQUE. Last at the Community School and pre-college season, she appeared on the live broadcast Music Academy divisions of the program What Makes It Great? hosted by Colburn School.

WESTCHESTERPHIL.ORG | 914-682-3707 27 In 2015, Mr. Vilaro took on the additional role of Chief Executive Officer of Ballet Hispánico. He has been part of the Ballet Ballet Hispánico & Eduardo Hispánico family since 1985 as a dancer and educator, after which he began a Vilaro, Artistic Director ten-year record of achievement as founder and Artistic Director of Luna Negra allet Hispánico, Dance Theater in Chicago. Mr. Vilaro has America’s leading infused Ballet Hispánico’s legacy with a Latino dance bold and eclectic brand of contemporary organization, has been dance that reflects America’s changing bringing individuals cultural landscape. Born in Cuba and and communities raised in New York from the age of six, together to celebrate and explore Latino he is a frequent speaker on the merits of cultures through dance for nearly 50 years. cultural diversity and dance education. Whether dancing on stage, in school, or in the street, Ballet Hispánico creates Mr. Vilaro’s own choreography is devoted a space where few institutions are to capturing the spiritual, sensual and breaking ground. historical essence of Latino cultures. He created over 20 ballets for Luna Negra The organization’s founder, National Medal and has received commissions from the of Arts recipient Tina Ramirez, sought Ravinia Festival, the Chicago Sinfonietta, to give voice to the Hispanic experience the Grant Park Festival, the Lexington and break through stereotypes. Today, Ballet and the Chicago Symphony. In Ballet Hispánico is led by Eduardo Vilaro, 2001, he was a recipient of a Ruth Page an acclaimed choreographer and former Award for choreography, and in 2003, he member of the Company, whose vision of was honored for his choreographic work social equity, cultural identity and quality at Panama’s II International Festival of arts education for all drives its programs. Ballet. Mr. Vilaro was also inducted into the Bronx Walk of Fame in 2016 and Ballet Hispánico, a role model in and was awarded HOMBRE Magazine’s 2017 for the Latino community, is inspiring Arts & Culture Trailblazer of the Year. creativity and social awareness in our In 2019, Mr. Vilaro was the recipient of neighborhoods and across the country by the West Side Spirit’s WESTY Award, was providing access to arts education. honored by WNET for his contributions to the arts, and most recently, was the Eduardo Vilaro joined Ballet Hispánico recipient of the James W. Dodge Foreign as Artistic Director in August 2009, Language Advocate Award. becoming only the second person to head the company since it was founded in 1970.

28 WESTCHESTER PHILHARMONIC | 2019–2020 SEASON (the première of which was performed along with four other Feuer works, at Merkin Concert Hall, NYC, 2003). Today, he continues to write chamber works Jed Feuer, composer and his trio for alto sax, cello & trumpet is about to be premièred. In 2005, he founded Bipolar, a jazz quintet. Bipolar’s Born in Los latest album, “Euphrates, Me Jane” Angeles, Jed received extraordinary reviews. Involved Feuer was with animal welfare issues since childhood, moved to New York he writes music for documentaries City at the age of six produced by The Humane Society of the weeks. Growing up in a United States (HSUS), an organization musical family, he studied trumpet under with which he’s been associated for many Joe Wilder (subsequently with Carmine years. He organized and (with Bipolar) Caruso). Piano with Joseph Kahn, participated in the first annual benefit for then Eugene Istomin followed shortly the ASPCA at Gotham in New York City thereafter which led to an immersion on July 27, 2010. Productions of his latest in harmony, theory and counterpoint. musical, Slaughterhouse-Five, based on the Although working at piano performance novel, were mounted by the University during much of the ‘70s, due to a lifelong of Miami in April, 2014 and the Eugene obsession with sculpture, composition was O’Neill Theatre Center in June, 2015. put on hold for a few years. In 1982, his In August, 2017, his orchestral piece, first Off-Broadway musical was produced. “Harambe” was performed by Rachael Theatre, film and television scores Worby and MUSE/IQUE in Pasadena, followed. In the mid ‘90s, with Fugue in b CA. On February 10, 2019 she conducted minor for chorus & percussion, his focus it with the Westchester Philharmonic. turned toward concert music. A 2000 commission resulted in Orchestral Suite

WESTCHESTERPHIL.ORG | 914-682-3707 29

CONCERT III

Sunday, February 9, 2020, at 3 pm A Sound Vision Rachael Worby, conducting Ray Ushikubo, violin

Works to be announced from the stage, including:

LEONARD BERNSTEIN (1918–1990) West Side Story Suite for Violin and Orchestra (arr. David Newman)

Mr. Ushikubo

© Al Ravenna

This season is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. This season is made possible by ArtsWestchester with support from Westchester County Government.

WESTCHESTERPHIL.ORG | 914-682-3707 31 Program Notes - CONCERT III

West Side Story Suite for Violin About the composer/arranger and Orchestra LEONARD BERNSTEIN Newman was born into the world of movie Born 25 August, 1918 in music. His father, the legendary Alfred Lawrence, Massachusetts Newman, flourished in Hollywood’s Died 14 October, 1990 in New York City golden age, writing scores for such classics Arranged for violin & orchestra by as Wuthering Heights, How Green was David Newman my Valley, The Song of Bernadette, and Born 11 March 1954 in Los Angeles All About Eve. The elder Newman won nine Academy Awards and was nominated • West Side Story is arguably America’s a remarkable 45 times. best loved musical • Bernstein’s score fuses Puerto Rican All four of Alfred Newman’s children rhythms with inner city jazz became conductors and composers in • David Newman’s seamless Suite Hollywood. David Newman studied makes for a dazzling solo vehicle piano and violin as a boy, subsequently for violin and orchestra earning degrees in violin performance • Listen for familiar highlights from and conducting at USC. He was a Bernstein’s unforgettable score Hollywood studio violinist for several years in the late 1970s and early 1980s, learning Nearly 70 years after its premiere, West more about the business through work Side Story has become an American with John Williams, Jerry Goldsmith, classic. Most of us can easily recall not and others. only tunes but also lyrics to many of its songs. “Tonight,” “Maria,” “Somewhere,” He started writing film scores in 1986 “America” — all are testimony to the and has enjoyed great success, particularly enduring appeal of Arthur Laurents’s book, in comedies and animated films. You Stephen Sondheim’s lyrics and, most of all, may not recognize his name, but you Leonard Bernstein’s music. His Symphonic have almost certainly heard his music Dances from West Side Story have become if you saw The War of the Roses, The a staple of the orchestral repertoire. Nutty Professor, Anastasia, Honeymoon in Vegas, Ice Age, Scooby-Doo, Alvin Hollywood composer David Newman’s and the Chipmunks — Newman’s list of West Side Story Suite provides a different credits is long and distinguished. He has take on Bernstein’s score: a dedicated also been a pioneer in the preservation of concert vehicle for the solo violinist, who film music, and is a frequent conductor at takes a star turn at several of the musical’s the Hollywood Bowl. big themes in this extended concert piece.

32 WESTCHESTER PHILHARMONIC | 2019–2020 SEASON Program Notes - CONCERT III

Newman’s concert music, though less “Maria”) alternate with more up-tempo well known, shows impressive variety. segments to provide contrast of pacing and He worked with the Los Angeles mood. The slower passages give the violin Philharmonic in 1001 Nights, a video ample opportunity to sing, often in double and music collaboration in 1998. His stops [two pitches sounding at once]. Woodwind Concerto in six movements features a different soloist in each of the The faster sections (“Mambo” and the first five movements, and all five soloists Ballet-Scherzo sequence) are vehicles for in the finale. technical fireworks: scale flourishes, rapid passage work, lightning-quick leaps, and About the music other dazzling feats. Newman’s gift is that his variants on Bernstein’s basic material The original West Side Story opened 26 never obscure the genius and flow of the September 1957 at New York’s Winter original, yet he capitalizes brilliantly on Garden Theater. Jonathan Newman the violinistic possibilities inherent in arranged his West Side Story Suite in Bernstein’s score. 2011. Sarah Chang played the premiere of West Side Story Suite in Jackson The suite concludes with an impassioned Hole, Wyoming on 2 July, 2011; Donald sequence based on “I Have A Love,” then Runnicles conducted the Grand Teton returns to the “Mambo” music for a high- Music Festival Orchestra. voltage finish.

West Side Story Suite opens with the music of Bernstein’s Prologue, introducing Program Notes by Laurie Shulman © 2019 the solo violin almost immediately as a First North American Serial Rights Only foreground player central to the drama. Thereafter, lyrical themes (“Tonight,”

WESTCHESTERPHIL.ORG | 914-682-3707 33 With MUSE/IQUE, Rachael Worby brings together members from every part of the community, connecting performers from various disciplines with audiences of all ages through curated experiences designed to challenge preconceived notions about the concert-going experience, and “illuminate the world around us.” Enlarging the conversation about community, the organization’s dynamic, inclusive events take place in unexpected, non-traditional venues throughout the Los Angeles area. MUSE/ IQUE creates an intimate experience for all with an untraditional policy of in- the-round seating with no intermissions and no backstage areas, strengthening the bond between performers and audiences. Through an expansive, carefully curated outreach program, the organization has developed strong, ongoing immersive Rachael Worby, conductor relationships with 14 separate nonprofits throughout the region that include season performances. usician. Innovator. Rachael Worby has guest conducted Curator. throughout Europe, South America, Rachael Worby is Australia and Asia. Her many honors an inspirational include serving on the National Council American conductor of the Arts for four years as an appointee renowned for successfully reimagining of President Bill Clinton. She has held the traditional concert format as well as multiple posts in the classical music world, dissolving the barriers that exist between including serving as Music Director performers and audiences. With her and Conductor of Wheeling Symphony passionate, versatile command of musical Orchestra (1986-2003), founding the genres, Rachael creates memorable, one- American Music Festival in Bucharest and of-a-kind, live multi-disciplinary events Cluj, Romania, and leading the Pasadena that expand today’s cultural landscape Pops from 2000-2010. Earlier posts as Artistic Director and Conductor of include Music Director and Conductor California’s pioneering MUSE/IQUE, of Carnegie Hall’s Young People’s which she founded in 2011. Concerts, stepping into the former post of her idol Bernstein, and Assistant Conductor for Youth Concerts at the Los Angeles Philharmonic.

34 WESTCHESTER PHILHARMONIC | 2019–2020 SEASON 2017 Hilton Head International Piano Competition and the 2016 Piano Concerto Competition at the Aspen Music Festival and School, where he soloed with the Aspen Conducting Academy Orchestra.

During the 2018-2019 season, Ushikubo performed on both piano and violin with the Buffalo Philharmonic in an all-Gershwin program with Maestro John Morris Russell, as well as with the Northwest Sinfonietta Orchestra and Maestro David Lockington featuring Beethoven’s works. Ushikubo has collaborated with pianist Lang Lang in Orange County’s Segerstrom Concert Hall and with pianist Jean-Yves Thibaudet on the international radio broadcast Radio France. Ushikubo was featured as a Young Artist in Residence of the national radio broadcast Performance Today with Host Ray Ushikubo, violin Fred Child, and he has been featured several times on the nationally syndicated radio program From the Top where he was named one of their Jack Kent Cooke xhibiting an innate Young Artists. musicality fused with mesmerizing technique, A 2014 Davidson Fellow Laureate, eighteen-year-old Ushikubo was awarded $50,000 by the Japanese-American pianist Davidson Institute for his music project and violinist Ray Ushikubo has soloed with “Circle of Life in Music.” Having won the the Los Angeles Philharmonic, performed 2017 Hilton Head International Piano on the stages of Carnegie Hall and Walt Competition and the 2016 Piano Concerto Disney Concert Hall, and appeared on Competition at the Aspen Music Festival NBC’s The Tonight Show with Jay Leno. and School, he has also won first prize at Since his solo orchestral debut at age ten the 2015 Steinway Concerto Competition, with the Young Musicians Foundation the Young Artists Piano Prize at the 2013 Orchestra in Los Angeles’s Dorothy Mondavi Young Artists Competition, Chandler Pavilion, Ushikubo has soloed and the 2012 Steinway Prize for the best with the Fort Collins Symphony Orchestra, performance of a Beethoven Sonata. Hilton Head Symphony Orchestra, Los Ushikubo has begun work toward his Angeles Chamber Orchestra, Los Angeles Bachelor’s degree at the Curtis Institute of Philharmonic, Modesto Symphony Music, studying piano with Gary Graffman Orchestra, Pasadena Symphony Orchestra, and Robert McDonald and violin with Reno Philharmonic, and San Diego Aaron Rosand and Midori. Ushikubo's Symphony Orchestra. A recipient of the other interests include automobiles, prestigious Davidson Fellow Laureate classic action movies, and classic heavy Award in 2014, Ushikubo won the metal music. WESTCHESTERPHIL.ORG | 914-682-3707 35 CONCERT IV

Sunday, April 19, 2020, at 3 pm Eternal Spring: Celebrating the 50th Anniversary of Earth Day Jayce Ogren, conducting Ran Dank, piano

FELIX MENDELSSOHN (1809–1847) Overture The Hebrides (“Fingal’s Cave”), Op.26

AARON COPLAND (1900–1990) Appalachian Spring [Complete ballet] I. Very Slowly II. Allegro III. Moderato IV. Quite Fast V. Subito allegro VI. Meno mosso VII. Doppio movimento VIII. Coda. Moderato

Intermission

LUDWIG VAN BEETHOVEN (1770–1827) Concerto No. 4 in G for Piano and Orchestra, Op. 58 I. Allegro moderato II. Andante con moto III. Rondo (vivace)

Mr. Dank

This season is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. This season is made possible by ArtsWestchester with support from Westchester County Government.

36 WESTCHESTER PHILHARMONIC | 2019–2020 SEASON Program Notes - CONCERT IV

Overture The Hebrides Mendelssohn is said to have jotted down (“Fingal’s Cave”), Op.26 that music — the opening B-minor FELIX MENDELSSOHN theme — upon first seeing Fingal’s Cave, a Born 3 February, 1809 in remarkable structure hollowed out by the Hamburg, Germany sea on the isle of Staffa. The grotto has a Died 4 November, 1847 in series of columns balanced in symmetry Leipzig, Germany almost as if an architect had designed them. Discovered in 1772, Fingal’s Cave • Mendelssohn’s overture celebrates was still a relatively new wonder of the Scotland’s wild coastal beauty world when Mendelssohn and Klingemann • The subtitle “Fingal’s Cave” comes visited it a half-century later. The cave lent from a structural seacoast hollow on its name as the overture’s alternate title; the island of Staffa in fact, Mendelssohn changed the work’s • Listen for the swirling power of name on two intervening occasions as he the sea revised it between 1829 and 1835.

Johannes Brahms once observed, “I would The overture is full of surprises, beginning gladly give all I have written, to have with the swirling power of the opening composed something like the Hebrides theme. As music evocative of the sea, Overture.” While it is very much to our The Hebrides was a powerfully influential advantage that no such sacrifice was work whose impact stretched from Wagner necessary, Brahms’s assessment of this (The Flying Dutchman) and Smetana youthful Mendelssohn overture is certainly (The Moldau) on to Debussy (La Mer); deserved. This paean to Scotland’s rugged indeed, Wilfred Blunt goes so far as to call northern beauty is a masterpiece on a level Mendelssohn’s overture an anticipation of with Mendelssohn’s “Italian” Symphony impressionism. The composer’s customary and Violin Concerto. Mendelssohn’s gift for orchestration is superbly in biographer Heinrich Jacob wrote that evidence, for example in the rich sound of the overture “brings the perils of nature the cellos to announce the glorious second straight into the concert hall, and the theme, and the delicate snippets from audience is forced to respond on the the winds in the development section. sheer physical level.” Mendelssohn reserves a final surprise for the closing measures, where a quiet Mendelssohn traveled to the British Isles postscript from clarinet and flute reminds for the first time in 1829, accompanied by us, through an allusion to the opening his friend Karl Klingemann. Their journey theme, that the sea is eternal. included an August visit to the Hebrides Islands off the northwest coast of Scotland. The score calls for woodwinds, horns, and The rocky beaches and dramatic seas made trumpets in pairs; timpani, and strings. an enormous impression on the young composer. He sent his family a letter with a few measures of sketched music, declaring that this would help them to understand how deeply the Hebrides had affected him.

WESTCHESTERPHIL.ORG | 914-682-3707 37 Program Notes - CONCERT IV

Appalachian Spring [Complete ballet] success, earning the New York City Music AARON COPLAND Critics’ Circle Award for the outstanding Born 14 November, 1900 in theatrical work of the 1944-1945 season, Brooklyn, New York and the Pulitzer Prize in music for 1945. Died 2 December, 1990 in North Tarrytown, New York Capturing the spirit of America’s heartland • Copland was a master of celebrating American heritage The ballet scenario takes place in the early and legend in music nineteenth century. A young farming • Appalachian Spring was couple in Pennsylvania Dutch country are commissioned for the legendary being married; the wedding celebration Martha Graham, who centers around their new pioneer choreographed it farmhouse in the Appalachian foothills. • The score immortalized the Shaker Copland later acknowledged the essential hymn ’Tis a Gift to be Simple message that guided his thinking when he • Copland’s ballet captures the composed this ballet: simplicity and honesty of America’s pioneer roots I knew certain crucial things — that it had to do with the pioneer American Copland, Mom, and apple pie spirit, with youth and spring, with optimism and hope. Appalachian Spring is one of three “folk ballets” that constitute the foundation of That gentle, strong spirit suffuses the score. Aaron Copland’s substantial reputation. (The other two are Billy the Kid and Copland extracted a suite in 1945 at the Rodeo.) Appalachian Spring’s sentimental behest of Artur Rodzinski, eliminating ten appeal derives from the strong sense of minutes of music. Nine years later, Eugene Americana with which Copland suffused Ormandy asked him to orchestrate the his score. Even though the only borrowed complete ballet. That is the version we melody is the Shaker tune “Simple Gifts,” hear. Copland scored the original ballet his original music communicates the sense for 13 instruments. His 1954 version for that we have always known it. Somehow Ormandy calls for expanded orchestra Copland distills the essence of our nation’s comprising two flutes (second doubling spirit in ways that speak to us all. piccolo), two oboes, two clarinets, two bassoons, two horns, two trumpets, two The Elizabeth Sprague Coolidge trombones, timpani, bass drum, suspended Foundation commissioned this ballet cymbal, side drum, tabor, triangle, for Martha Graham in 1943. Copland glockenspiel, xylophone, wood block, completed the score in 1944 while claves, harp, piano and strings. teaching at Harvard. The premiere took place in Washington, at the Library of Congress’ Coolidge Auditorium that October. Martha Graham and Merce Cunningham danced the principal roles. Appalachian Spring was an immediate

38 WESTCHESTER PHILHARMONIC | 2019–2020 SEASON Program Notes - CONCERT IV

Concerto No. 4 in G for Piano and absorb Beethoven for a long while after Orchestra, Op. 58 he completed it in 1806, for he wrote LUDWIG VAN BEETHOVEN three cadenzas for each outer movement, Born 16 December, 1770 in probably in 1809. (Two have survived Bonn, Germany in full for the first movement; only one Died 26 March, 1827 in Vienna, Austria for the finale.) By writing out these cadenzas, he was placing certain limits • Beethoven’s sense of theatre emerges on the creativity of the performer, for in a quieter, gentler way, with an cadenzas up until then had been left to immediate entrance from the soloist the improvisatory talent of the soloist. • Poetic and inward, the Fourth Beethoven went so far as to specify in the Concerto explores nuances of thought score that the third movement cadenza was and expression to be short. • Notice the contrast in the slow movement between the stern string Inaugural gesture: quiet, improvisatory, declamation and the understated and revolutionary eloquence of the piano • The orchestral complement changes This concerto stands apart from its in each movement four companions in Beethoven’s work • This year marks the 250th anniversary list. Rather than commencing with of Beethoven’s birth a conventional orchestral exposition, he chooses an intimate, expressive If we scan the list of Beethoven’s works, we and somewhat improvisatory primary see relatively few concertos: one for violin, statement. Solo piano opens with a series five for piano, two violin Romances, of simple G major chords in an irregular and the so-called “Triple” Concerto for five-measure phrase. The strings respond violin, cello, and piano. Beethoven was with a related series of chords in B major, more interested in the concerto genre a daring key for a piece in G major. than such a modest list would indicate. One by one, the woodwinds creep He followed new developments in into the orchestral fabric in decidedly the evolving manufacture of keyboard un-Beethovenian fashion. No bombast, no instruments, adjusting his piano writing rhetoric, no drama demands that we sit up to take full advantage of the ever larger ramrod straight in our seats. Hammerklavier. The fact that all five of his concerti for piano are bulwarks of the To the contrary, Beethoven’s orchestra in keyboard repertoire attests not only to the Fourth Concerto is Mozartean, almost their intrinsic artistic value, but also to the chamber-like. In the first movement, it importance he placed on them. lacks timpani and is devoid of brass, other than the mellow French horns. He Piano remained Beethoven’s principal treats his orchestra virtuosically, however. expressive voice long after deafness As Anne-Louise Coldicott has noted: “The curtailed his performing career. Surviving increasing virtuosity of his writing for sketches indicate that he contemplated [piano] is matched by his treatment of the a sixth piano concerto about 1815, and orchestra: its contributions are weightier, he continued to compose solo piano and the individual parts are more sonatas until the early 1820s. The demanding than in previous concertos.” Fourth Concerto clearly continued to WESTCHESTERPHIL.ORG | 914-682-3707 39 Program Notes - CONCERT IV

Intimacy and playfulness self-indulgent imagination so happily with inventiveness of form. At once capricious The overriding concept of the Fourth and reliable, the G-major concerto never Concerto is intimacy. Sometimes ceases to be endearing, perhaps because of Beethoven adds a touch of playfulness. its fundamental ambiguity. Elsewhere he interjects the kind of private introspection that makes us a bit The Concerto is scored for flute; pairs of embarrassed, as if we have witnessed a oboes, clarinets, bassoons, and horns, solo corner of someone’s soul to which we piano and strings. The second movement have no legitimate right. Always the music consists solely of dialogue between strings touches us with a tenderness Beethoven and soloist. For the finale, which ensues achieved in no other concerto. attacca [without pause] from the slow movement, Beethoven returns to his first The Fourth Piano Concerto was first movement ensemble, adding trumpets played in a private performance at the and timpani. palace of either Prince Joseph Franz Maximilian Lobkowitz or Prince The Orpheus Connection Carl Lichnowsky in March 1807 (the notebooks say “Prince L.”; both noblemen In ancient Greek mythology, Orpheus were Beethoven’s patrons at the time). was a celebrated poet and musician who Beethoven himself played the first public was presented with his lyre by Apollo. performance at the end of 1808. It was the Instructed by the Muses (his mother last time he played a concerto première was Calliope, muse of epic poetry), he in public. became so accomplished that he could enchant beasts, trees, and even the rocks Maynard Solomon writes of the G major of Mount Olympus with the beauty of his concerto’s “sense of calm, spaciousness, music-making. He married the nymph and measured nobility of rhetoric.” Euridice, who died after being bitten by Fundamentally different in spirit from a serpent. Bereft, Orpheus followed her the other concertos, the fourth achieves a to the underworld, where his lyre-playing level of spiritual peace we might all wish charmed the shadows of Hades and that Beethoven had achieved during his allowed him to retrieve his bride from the lifetime. A noteworthy innovation in the dead — provided he did not look back slow movement is the use of una corda during the return journey. Ceding to [soft pedal] pedaling instructions, the anxiety, he ignored that instruction and first such occurrence in Beethoven’s glanced over his shoulder to be certain piano music. she was following him. Immediately she returned to the nether regions of Hades, Iron hand in a velvet glove trimmed condemned forever. with lace The Orpheus myth has been important for Beethoven’s piano writing in the fourth music, particularly opera. It also has strong concerto is among his most delicate: lace links to the slow movement of Beethoven’s filigree, yet with the strength of wrought Fourth Piano Concerto. “If I am not iron in its structural integrity. We have mistaken, it was Liszt who compared few works from him that marry fanciful, the slow movement of this concerto to

40 WESTCHESTER PHILHARMONIC | 2019–2020 SEASON Program Notes - CONCERT IV

Orpheus taming the wild beasts with his inaccurately attributed to Liszt. Jander music,” the English historian and pianist suggests that Beethoven was illustrating Donald Francis Tovey wrote in the Orpheus’s fateful journey to Hades in 1930s. In fact, Tovey was mistaken. Liszt pursuit of his beloved. The stern growling composed an orchestral tone poem called from the strings represents the Furies Orpheus, including an essay on Gluck’s (or Shades), guarding the entrance; the opera Orfeo ed Euridice in his published piano is Orpheus, eloquently pleading his introduction, but there is no evidence case with the irresistible accompaniment that he associated the legend with of his lyre. At the close of the movement, Beethoven’s concerto. they acquiesce to his entreaties. This theory adds a strong programmatic Actually, the association with Orpheus is element to a work otherwise free of valid. As Owen Jander argued in a 1985 extramusical association. article, Beethoven himself almost certainly had Orpheus in mind with the slow movement, but he called upon a different Program notes by Laurie Shulman © 2019 part of the legend from what Tovey First North American Serial rights Only

WESTCHESTERPHIL.ORG | 914-682-3707 41 Hong Kong Philharmonic, Los Angeles Philharmonic, New York Philharmonic, the Dallas and San Francisco Symphonies, and the Saint Paul Chamber Orchestra, in programs ranging from Mozart to Beethoven through Sibelius and Bernstein, to presenting U.S. and world premieres of works by Steve Mackey and Nico Muhly.

Among the numerous progressive projects Mr. Ogren has conducted are the New York premieres of Leonard Bernstein’s only opera, A Quiet Place, and puppeteer Basil Twist’s The Rite of Spring, both at Lincoln Center; the world premiere of David Lang’s symphony for a broken orchestra, bringing together 400 student, amateur and professional musicians in Philadelphia; and the world premiere of Jack Perla’s Shalimar the Clown at Opera Theatre of St. Louis. Jayce Ogren, conductor A longtime collaborator of singer/ songwriter/composer Rufus Wainwright, ayce Ogren has Mr. Ogren conducted the 2012 U.S. established himself premiere of his opera Prima Donna at as one of the most the Brooklyn Academy of Music, and innovative and versatile led its recording with the BBC Symphony conductors of his generation. on Deutsche Grammaphon in 2016. From symphonic concerts to Mr. Ogren and Mr. Wainwright have since revolutionary community service programs appeared together throughout the world, to operatic world premieres, Mr. Ogren is with ensembles such as the National Arts a leader in breaking down barriers between Centre Orchestra in Ottawa, the Orchestre audiences and great music. national d’Île-de-France in Paris and the Toronto Symphony. Mr. Ogren began his career as Assistant ​ Conductor of The Cleveland Orchestra A devoted educator, Mr. Ogren was and Music Director of the Cleveland invited by renowned poet Paul Muldoon Youth Orchestra, a concurrent to create an interdisciplinary studio class at appointment he held from 2006-2009. In Princeton University for the 2017-2018 the years since, he has conducted many academic year. He has worked with of the world’s most prominent orchestras, students at the Brevard Music Center, the including the BBC Symphony, Boston Juilliard School, Manhattan School of Symphony, Ensemble Intercontemporain, Music, Music Academy of the West and

42 WESTCHESTER PHILHARMONIC | 2019–2020 SEASON Jayce Ogren

Verbier Festival. In 2016, he presented a A native of Hoquiam, Washington, Jayce unique workshop in orchestral rehearsal Ogren lives in Brooklyn, New York with techniques for music teachers at Carnegie his wife Carly, an architect, and their Hall in collaboration with the Carnegie son, Alistair. An avid athlete, he has run Hall Weill Music Institute and the Juilliard the Big Sur, Boston and New York City School Pre-College. For his own part, Mr. marathons, the JFK 50 Miler trail run, and Ogren earned his Masters in conducting the Ironman Lake Placid triathlon. As an at the New England Conservatory and individual member of 1% for the Planet, studied as a Fulbright Scholar with Mr. Ogren is proud to connect his artistic Jorma Panula. work with his deep love of nature and ​ concern for the environment.

WESTCHESTERPHIL.ORG | 914-682-3707 43 Gardner Museum, Kennedy Center, Town Hall, Yale School of Music, Philips Collection, Morgan Library, Pro Musica in San Miguel de Allende, Mexico, Portland Ovations, and have garnered critical acclaim from the New York Times and The Washington Post. Mr. Dank has performed as a soloist with the orchestras of Cleveland, Sydney, St. Luke’s, Portland, Eugene, Toledo, Hawaii, Kansas City, Vermont, Charleston, Jerusalem, Valencia, Phoenix, Hilton Head, among others, working under the batons such as Michael Stern, Jahja Ling, Michael Christie, Kirill Karabits, Jun Märkl, Pinchas Zukerman, Jorge Mester, Jaime Laredo, and Ken- David Masur. His chamber music festival appearances have included Santa Fe, Seattle, Chanel in Tokyo, Great Lakes, Bridgehampton, Cooperstown, Mänttä, Bowdoin, Maverick, Skaneateles, and Ran Dank, piano Montreal, and he has collaborated with luminaries of the field such as Paul Watkins, Augustin Hadelich, Eugene otable Drucker, Jaime Laredo, Sharon Robinson, performances James Ehnes, and The Orion, Shanghai, during Mr. Dank’s Takács, and Dover String Quartets. 2019/2020 season Mr. Dank’s recent performance of the include appearances at monumental set of variations “The People the National Gallery in DC, the Hawaii United Will Never Be Defeated!” at the Concert Society, Purdue Convocations, University of Chicago has been selected as Gina Bachauer Concert Series, two one of the top ten performances of 2017 consecutive recitals at the Pro Musica series by the Chicago Classical Review. in San Miguel de Allende in Mexico, and a collaboration with Jayce Ogren and the Mr. Dank is an ardent advocate for Westchester Philharmonic. In addition, contemporary music, and has performed he returns to the Chanel Chamber Music in recent seasons Kevin Puts’ piano Festival in Tokyo and to the Portland concerto “Night,” the Tobias Picker Symphony for a performance of Saint concerto, “Keys to the City,” Frederic Saens’ 2nd Piano Concerto under the baton Rzewski’s “The People United Will Never of Eckart Preu. Be Defeated,” William Bolcom’s Pulitzer- winning set of “Twelve New Etudes,” Ran’s recent performances have included and has given, alongside pianist and wife, recitals at the San Francisco Performances Soyeon Kate Lee, the world premieres of Series, Gilmore, Ravinia, Carnegie Hall’s Frederic Rzewski’s “Four Hands,” and Zankel and Weill Halls, Steinway Hall, Alexander Goehr’s “Seven Impromptus.”

44 WESTCHESTER PHILHARMONIC | 2019–2020 SEASON Ran Dank

This season Mr. Dank and Soyeon Kate performing artists who play solo pieces Lee will feature the world premiere of and chamber works accompanied by treats multiple Grammy-nominated pianist and sweet and savory, paired with wines by composer’s Marc-André Hamelin’s “Tango” the glass. for piano four-hands. Ran Dank is the recipient of numerous Ran Dank and Soyeon Kate Lee have honors, including the Naumburg Piano established a series of concerts, Music Competition and the Sydney International by the Glass, held in a New York SoHo Piano Competition, and First Prize art gallery, where the audience of young winner of the Hilton Head International professionals listen, mix and mingle with Piano Competition.

WESTCHESTERPHIL.ORG | 914-682-3707 45 Board of Directors & Administration

Westchester Philharmonic DIRECTORS ADMINISTRATION FOR THE Numa Rousseve, Chair Joshua Worby, Executive & PERFORMING Murray Stahl, Vice Chair Artistic Director ARTS CENTER Christina Maurillo, Treasurer Madeline Luke, Coordinator, Seth Soloway, Director Millicent Kaufman, Community Relations and Mara Rupners, Chair Emerita Patron Services Director of Marketing Neil D. Aaron Kristen Butcher, Librarian Janice Kahl, House Operations Director Tony Aiello Jonathan Haas & Neil Balm, Personnel Managers Dan Sedgwick, Hannah Shmerler Burton Greenhouse, Facilities Manager Lisa A. Tibbitts Bookkeeping Christy Havard, Joshua Worby, ex-officio Leszek Wojcik, Director of Production Recording Engineer Bennett Marrow, Production Coordinator

It is with great respect and admiration that we acknowledge the support of those corporations and individuals who helped to make this season possible. We are grateful for your long-standing dedication and service to the Westchester Philharmonic. BECOME A FRIEND OF THE PHIL TODAY. Donations are always welcome and much appreciated. To make a gift today please use the envelope enclosed in this program and return it to the information table in the lobby, visit our website or call (914) 682-3707.

RD OF LE OA G B IS Y L T A UNT T N CO Y O U R

O S C 1683

W O . D Y E R E . S G A I Z N T N , Y C T HE N STER COU

46 WESTCHESTER PHILHARMONIC | 2019–2020 SEASON Our Supporters Thank you …for your vision and generosity in supporting the Westchester Philharmonic. The following list represents gifts totaling $75 or more made between March 1, 2018 and October 4, 2019. To make a contribution, call (914) 682-3707, donate online at westchesterphil.org, or mail your gift using the envelope included in this program.

$50,000 and above $2,500–$4,999 Kirsti Prochelle Horizon Kinetics Warren A. Breakstone Mr. & Mrs. William White Murray & Teddi Stahl Barbara Dannenberg Jeff & Frederique Zacharia Gilder Foundation $20,000–$49,999 Keith Kearney & $500–$999 ArtsWestchester Debby McLean David & Madeleine Arnow Donald Cecil Mr. & Mrs. Raina Lindholm James Aucone & Emily Grant Peckham Family Foundation Joanne McGrath Leona Kern Esther Robbins Janie & Tom Bezanson New York State Council Yvonne Tropp & Alan Epstein Jane Bridges & on the Arts Rory & Joshua Worby Robert Dennard Nataly & Toby Ritter Martin Cohen Kaaren & Numa Rousseve $1,000–$2,499 Phyllis Cole Hannah & Walter Shmerler Robin Bushman & Margot Elkin Robert Fried Alan Epstein $10,000–$19,999 Jane Bridges & Valeria Dalwin Etra Robert Dennard Mr. & Mrs. Robert Weiner Juliet Gopoian Marjorie Gilbert Foundation Diana Worby Elihu & Minette Gorelik Louella Gottlieb Joann Graham Grateful Foundation $5,000–$9,999 Marjorie Lee Dr. & Mrs. Gerald Greitzer Neil & Gayle Aaron Harriet Leibowitz Dorothy & Fred Haas Mr. & Mrs. H. Rodgin Cohen Irwin & Vivienne Levenson Marilyn & John Joy Henshel Donald & Margaret Mahaney Heimerdinger Marty & Millicent Kaufman Mr. & Mrs. Harris Markhoff Tom & Libby Hollohan Sylvia & Leonard Marx Christina Maurillo Phyllis & Peter Honig Mary D. Neumann Joan Meyer Mrs. Barbara Klauber Steve Ucko Mr. & Mrs. Lawrence J. Nokes Linda & Paul Landesman St. Vincent De Paul Jean & Henry Pollak Mr. Leonard Lowy Foundation Karen Ragins Cheryne & David McBride Ruth B. Toff Karen P. Smith Vivian Milstein David E. Worby & Lucille Smith Melanie Grossman Mr. & Mrs. Robert S. Olsen Anne & Ronald Switzer

WESTCHESTERPHIL.ORG | 914-682-3707 47 Our Supporters

Russel Watsky $125–$249 Sandra Dammann Barbara Wenglin Richard Baccari & Co. LLP George & Theresa Edwards Mr. & Mrs. John Werner Felipe Cabello & Stephanie Finder Lieselotte Hott Ruth Greer $250–$499 Rena Finkelstein Steve Hartman Mr. & Mrs. Stephen Bear David Gould Andrew & Deborah Jagoda Rochard Bobbe & Linda Kramer Stanley Josephson Jocelyn Shuman Mark Larsen Rita Kaplan Mr. & Mrs. Donald Coe Richard & Diane Lert John & Ann Kaufman Mr. & Mrs. Julian L. Cohan Mark & Ann Lewis Sally Kellock Janet C. Crohn Todd Lao & Iris Lo Jane Kramer Miriam & Paul Douglas Peggy G. Marx Ms. & Mr. Janet Langsam Robert & Marjorie Feder Joanne McGrath Mr. & Mrs. Austin Lempit Jed Feuer Jay Meltzer Mr. & Mrs. Thomas Locastro Gloria Fields & Mr. & Mrs. John Michaels Pedro Maymi Andy Seligson Essie & Jerome Newman Helen F. Mecs Mr. & Mrs. George Hauss Judith Peck Bruce Mekul Philip & Ellen Heidelberger Irving & Sharon Picard Joseph Pandolfo IBM Matching Gifts Program Barbara Rabinowitz David Piltzer Joshua Jay & Elaine Kaufman Joan & Mills Ripley Sharon Prouty Mr. & Mrs. Robert Kearney Mr. & Mrs. Andrea Ritchin Lida Keltz Lawrence Schneck Trudy Rosen Martin Kest Pearl Anne Schwartz Audrey Rosen Julie & Dick Leerburger Bill & Margaret Slattery Robert & Millie Rosenberg Ellen & Jonathan Litt Anton & Eileen Stenzler Marcia Rubenstein Madeleine MacIntyre Susan & Larry Tolchin Hiro Sakata Therese M. Nagai Peter & Roberta Tomback Mrs. Henrietta Sanford Kyoko Nozaki Inge Treser Richard & Ann Marie Akira Okochi Schneeman Michael & Evelyn Otten $75–$124 Rosalind Schulman Denise A. Rempe Anonymous Francine Shorts Frances Rosenfeld William Adams Eileen R. Simonson Harold & Sandra Samuels Mr. & Mrs. Mrs. Abraham Staal Elon & Patrice Schwartz Richard Bemporad Howard Steinman & Sara A. Sheperd Mr. & Mrs. Anthony Barbara Birshstein Phyllis Slotnick Bloomberg Inger Tallaksen Susan M. Wackerow Helen Bowers David & Moira Tobey Rita Wexler Ronald Cohen David Wood Mr. & Mrs. Lloyd Cort Dorothy J. Young Mark Zarick

48 WESTCHESTER PHILHARMONIC | 2019–2020 SEASON Our Supporters bravoA hearty to the following individuals and organizations for their volunteerism and in-kind donations.

Martin Oppenheimer New York Very special thanks Numa Rousseve Power Authority to photographer Betsy Steward Royal Press Louis Vacarro. Serendipity Magazine Other photographs by Matt Dine, Susan Farley, WAG Magazine Ardsley Musical Kenji Mori, and Instrument Service Westchester Magazine Sandy Shertzer. Aries Fine Wines WGCH Radio and Spirits What to Do Doral Arrowwood WHUD Radio WQXR Radio

WESTCHESTERPHIL.ORG | 914-682-3707 49 Celebrating 37 Years

Savion Glover, Rachael Worby, Robert Chausow & the Phil performing Vivaldi’s Four Seasons. (photo by Louis Vaccaro.)

ow beginning its 37th Ohlsson, Itzhak Perlman, Nadja Salerno- season, the Westchester Sonnenberg, Gil Shaham, Isaac Stern, and Philharmonic is the oldest, André Watts. continuously running professional symphony orchestra and Among the many new works largest performing arts organization of commissioned and premiered by the any kind in Westchester County. The Westchester Philharmonic is Melinda Philharmonic’s main stage concert series Wagner’s Concerto for Flute, Strings makes its home at the 1,300 seat Concert and Percussion, which won the Pulitzer Hall at the Purchase Performing Arts Prize in 1999. World premieres by Center, with outdoor concerts, chamber award-winning composers Christopher concerts, children’s programs, and special Theofanidis, David Ludwig, and Jed events throughout the area, attracting Feuer debuted in 2014, 2016, and savvy music-lovers from Rockland, 2019, respectively. Bergen, Fairfield, and Putnam counties, New York City, and beyond. The Westchester Philharmonic has a rich history of supporting artists of The orchestra was founded in 1983 under diverse backgrounds and is setting a the leadership of late Music Director new standard for how mid-size regional Paul Lustig Dunkel (who became Music symphony orchestras can have an impact Director Emeritus in 2008), and is now on the face of classical music. Over the led by Executive & Artistic Director past ten seasons the Phil has engaged Joshua Worby. Renowned artists who have 30 conductors or guest soloists of performed with the Phil include Joshua African-American, Hispanic, and Asian Bell, Julia Bullock, Barbara Cook, Jeremy backgrounds. Women conductors and Denk, Branford Marsalis, Midori, Brian composers have appeared in eight of the Stokes Mitchell, Kelly O’Hara, Garrick last ten seasons.

50 WESTCHESTER PHILHARMONIC | 2019–2020 SEASON The orchestra’s award-winning education The orchestra is comprised of the finest program reaches thousands of elementary professional free-lance musicians from school students each year and culminates around the greater metropolitan area, in a full orchestra concert. The Phil who also perform regularly with the also partners with local organizations New York City Ballet, Orchestra St. to present free and low-cost chamber Luke’s, Orpheus, Mostly Mozart, and for concerts, as well as to provide subsidized many Broadway shows. Members of the seating at main stage concerts, welcoming Phil hold faculty positions at Juilliard, hundreds of area residents each year who Mannes, Manhattan School of Music, might not otherwise have an opportunity Purchase Conservatory, Vassar and Bard to attend. Colleges, and at local public schools.

Soprano Julia Bullock with the Phil.

WESTCHESTERPHIL.ORG | 914-682-3707 51 General Information

General Information Important Contact Info The use of recording devices or photographs in Philharmonic Administrative Offices & The Concert Hall is strictly forbidden. General Info: 170 Hamilton Ave., Suite 350, White Plains, NY 10601 As a courtesy to other concert-goers, please turn Phone: (914) 682-3707 off all electronic devices and do not talk during Email: [email protected] the performance. Kindly unwrap any candy or lozenges before the performance begins. Performing Arts Center Box Office: Latecomers will be seated at the discretion of the (914) 251-6200 management. Patrons who leave a performance while it is in progress may not be readmitted until Performing Arts Center Lost & Found: there is a break. (914) 251-6209 Smoking is not permitted in any area inside The Performing Arts Center. Smoking is also no longer Like us on permitted by the lobby doors in the underpass, or Facebook in the plaza areas around the PAC. Emergency exits are indicated by red signs above the doorways. For your safety, please check the location of the exit nearest your seat. Follow us on Twitter All programs, artists, dates, times and prices are subject to change.

Unable to attend a concert? Email us at [email protected] We welcome subscribers to exchange their tickets Visit us at westchesterphil.org for any alternate main stage performance. Kindly contact the Performing Arts Center box office 48 hours in advance of the concert you’d like to attend. Tickets may also be donated back. We will provide you with a written acknowledgement allowing the value of returned tickets as a tax- deductible contribution. Exchanges and donations cannot be made at The Performing Arts Center box office or on the day of the performance. You must call (914) 251-6200.

PROGRAM PRODUCED BY:

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This program is published in association with Onstage Publications, 1612 Prosser Avenue, Kettering, OH 45409. This program may not be reproduced in whole or in part without written permission from the publisher. JBI Publishing is a division of Onstage Publications, Inc. Contents © 2019-20. All rights reserved. Printed in the U.S.A. Program Notes: Laurie Shulman

52 WESTCHESTER PHILHARMONIC | 2019–2020 SEASON