Cal Performances Presents Orchestra Roster

Sunday, March 29, 2009, 3pm Estonian National Symphony Orchestra Zellerbach Hall Eri Klas, conductor

First Violin Cello Uku Ratas Estonian National Arvo Leibur, Concertmaster Pärt Tarvas Tõnu Künnapas Elar Kuiv, Concertmaster Andreas Lend Kalmer Kiik Symphony Orchestra Marge Uus Lauri Toom Valdek Põld Piret Sandberg Katrin Oja Eri Klas, conductor Imbi-Malle Kuus Andrus Vihermäe Trumpet Eva Liisa Heinmaa Marius Järvi Indrek Vau with Meelis Orgse Margus Uus Roman Petuhhov Tarmo Truuväärt Joosep Kõrvits Erki Möller Sirje Allikmäe Enno Lepnurm Ivar Tillemann Kaiu Pent Maris Vallsalu Joyce Yang, piano Hanna-Liis Nahkur Trombone Villem Peäske Double Bass Andres Kontus Kirti-Kai Loorand Mati Lukk Peeter Margus PROGRAM Tõnis Pajupuu Imre Eenma Väino Põllu Andrus Tork Janel Altroff Guido Kongas Kristina Kungla Ants Õnnis Hendrik Soon Meelis Ainsalu Tuba Arvo Pärt (b. 1935) Cantus in Memory of Danae Taamal Maret Orgmets Andrei Sedler for Strings and Bell (1977) Kaupo Olt Second Violin Madis Jürgens Percussion Urmas Roomere Madis Metsamart Serge Rachmaninoff (1873–1943) Piano Concerto No. 2 in C minor, Op. 18 Kadi Vilu Flute Rein Roos Epp Karin Mihkel Peäske Kristjan Mäeots (1900–1901) Varje Remmel Frederike Wiechert Terje Terasmaa-Leibur Moderato Marika Hellermann Mari-Liis Vihermäe Vambola Krigul Adagio sostenuto Aleksandr Zagorulko Karolina Leedo Kaspar Eisel Allegro scherzando Ülle Allade Rein Saue Marlis Timpmann Oboe Mari-Katrina Suss Nils Rõõmussaar Administration Sirje Paliale Aleksander Hännikäinen Andres Siitan, Managing Director INTERMISSION Triin Krigul Tõnis Traksmann Marko Metsaru, Orchestra Manager Mail Sildos Heli Ernits Marika Mälksoo, Librarian Kristjan Nõlvak (1865–1957) Symphony No. 2 in D major, Op. 43 (1901–1902) Tanel Nurk Clarinet Toomas Vavilov For Opus 3 Artists Allegretto Viola Madis Kari David V. Foster, President & CEO Tempo Andante, ma rubato Rain Vilu Hannes Altrov Byron Gustafson, Managing Partner Vivacissimo — Lento e suave — Tempo primo — Liina Žigurs Meelis Vind Leonard Stein, Senior Vice President, Lento e suave — Finale: Allegro moderato Toomas Veenre Director, Tour Administration Pille Saluri Bassoon Robert Berretta, Manager, Artists & Mall Help Peeter Sarapuu Attractions Kaja Kiho Tarmo Velmet John C. Gilliland III, Associate, The Orchestra gratefully acknowledges the Estonian Ministry of Culture, the Estonian Cultural Foundation Anne Ilves Kaido Suss Tour Administration and the Estonian Ministry of Foreign Affairs for their support of the Orchestra’s 2009 North American tour. Mari Aasa Andres Lepnurm Nadia Mokhoff, Company Manager Juhan Palm-Peipmann Richmond Davis, Stage Manager Joyce Yang is a Steinway Artist. Kenti Kadarik Horn Kadri Rehema Vigo Uusmäe Exclusive Tour Management: Opus 3 Artists, 470 Park Avenue South, Ninth Floor North, New York, New York 10016. Gerli Vaher Kalle Koppel

Cal Performances’ 2008–2009 season is sponsored by Wells Fargo Bank.

22 CAL PERFORMANCES CAL PERFORMANCES 23 Program Notes Program Notes

Arvo Pärt (b. 1935) piece Für Alina, which utilizes quiet dynamics, honors, transcends the too-short time that it dwells described, and he showed little inclination of ever Cantus in Memory of Benjamin Britten rhythmic stasis and open-interval and triadic har- among us. climbing out. His family, alarmed at the prospect for Strings and Bell monies to create a thoughtful mood of mystical of the brilliant young musician wasting his prodi- introspection reflecting the composer’s personal gious talents, expended their own capabilities to Composed in 1977. piety. His subsequent works, all of which eschew Serge Rachmaninoff (1873–1943) help him, and then sought out professional psychi- electronic tone production in favor of traditional Piano Concerto No. 2 in C minor, Op. 18 atric counsel. Arvo Pärt, born on September 11, 1935, in Paide, instruments and voices, have been written in this An aunt of Rachmaninoff, Varvara Satina, had , 50 miles southeast of , gradu- pristine, otherworldly style inspired by Gregorian Composed in 1900–1901. Premiered on October 14, recently been successfully treated for an emotion- ated from the Tallinn Conservatory in 1963 while chant and Renaissance polyphony, and seek to 1901, in , conducted by Alexander Siloti with al disturbance by a certain Dr. Nicholas Dahl, a working as a recording director in the music divi- unite ancient and modern ages in music that seems the composer as soloist. Moscow physician who was familiar with the latest sion of Estonian Radio. A year before leaving the rapt out of time. psychiatric discoveries in France and Vienna, and Conservatory, he won first prize in the All-Union Pärt calls his manner of composition “tin- When he was old and as mellow as he would ever it was arranged that Rachmaninoff should visit Young Composers’ Competition for a children’s tinnabulation,” from the Latin word for bells. get, Rachmaninoff wrote these words about his him. Years later, in his memoirs, the composer re- cantata and an oratorio. In 1980, he emigrated to “Tintinnabulation,” the composer explains, “is an early years: “Although I had to fight for recogni- called the malady and the treatment: “[Following Vienna, where he took Austrian citizenship; since area I sometimes wander into when I am searching tion, as most younger men must, although I have the performance of the First Symphony,] some- 1982, he has made his home in West Berlin. Pärt’s for answers—in my life, my music, my work. In my experienced all the troubles and sorrow which pre- thing within me snapped. All my self-confidence many distinctions include the Artistic Award of dark hours, I have the certain feeling that every- cede success, and although I know how important broke down. A paralyzing apathy possessed me. I the Estonian Society in Stockholm, Scholarship thing outside this one thing has no meaning. The it is for an artist to be spared such troubles, I realize, did nothing at all and found no pleasure in any- Award of the Musagetis Society in Zurich, honor- complex and many-faceted only confuses me, and when I look back on my early life, that it was en- thing. Half my days were spent on a couch sighing ary memberships in the Royal Swedish Academy of I must search for unity. What is it, this one thing, joyable, in spite of all its vexations and bitterness.” over my ruined life. My only occupation consisted Music, American Academy of Arts and Letters and and how do I find my way to it? Traces of this per- The greatest “bitterness” of Rachmaninoff’s career in giving a few piano lessons to keep myself alive.” Belgium’s Royal Academy of Arts, five Grammy fect thing appear in many guises—and everything was brought about by his Symphony No. 1, a work For more than a year, Rachmaninoff’s condition Award nominations, honorary doctorates from that is unimportant falls away. Tintinnabulation that had such a disastrous premiere he forbade any persisted. He began his daily visits to Dr. Dahl the universities of Sydney, Tartu, Durham and the is like this. Here, I am alone with silence. I have other performances of the piece while he was alive. in January 1900. “My relatives had informed Music Academy of Tallinn, Order of the Estonian discovered that it is enough when a single note is The total failure of the Symphony at its premiere in Dr. Dahl that he must by all means cure me of State Second Class, the Herder Award conferred beautifully played. This one note, or a silent beat, 1897 was a traumatic disappointment to him, one my apathetic condition and bring about such re- by the University of Vienna, and recognition as a or a moment of silence, comfort me. I work with that thrust him into such a mental depression that sults that I would again be able to compose. Dahl Commandeur de l’Ordre des Arts et des Lettres de very few elements—with one voice, with two he suffered a complete nervous collapse. had inquired what kind of composition was de- la République Française. voices. I build with the most primitive materials— Such a hyper-emotional attitude was not sired of me, and he was informed ‘a concerto for Pärt’s earliest works show the influence of the with the triad, with one specific tonality. The three unusual at the turn of the 20th century for the pianoforte,’ which I had given up in despair of ever Soviet music of Prokofiev and Shostakovich, but notes of a triad are like bells. And that is why I call Russian aristocracy of which Rachmaninoff was writing. In consequence, I heard repeated, day af- beginning in 1960 with Necrology for Orchestra, it tintinnabulation.” a member. Melancholia was virtually a way of ter day, the same hypnotic formula, as I lay half he adopted the serial principles of Schoenberg. This Pärt composed the Cantus in Memory of upper-class life at the time, as the Russian critic somnolent in an armchair in Dr. Dahl’s consulting procedure quickly exhausted its interest for him, Benjamin Britten for Strings and Bell in 1977 in and composer Leonid Sabaneiev described: “The room: ‘You will start to compose a concerto—You however, and, for a fruitful period in the mid– tribute to the renowned English composer, who famous Moscow restaurants, the no-less famous will work with the greatest of ease—The composi- 1960s during which he produced a cello concerto, died on December 4, 1976, in Aldeburgh, Suffolk. Gypsy choruses, the atmosphere of continuing tion will be of excellent quality.’ Always it was the the Second Symphony and the Collage on BACH This brief but deeply moving threnody, begun by dissipation in which perhaps there was no merri- same, without interruption.” Almost like a movie for Orchestra, he explored the techniques of col- the solitary, pealing bell, is based on a single the- ment at all, but on the contrary, the most genuine, script from the Hollywood where Rachmaninoff lage and quotation. Criticized by government au- matic idea, a falling stepwise motive that slowly bitter and impenetrable pessimism—this was the eventually settled, the good doctor’s unusual cure thorities for the religious content of several of his cascades from the high violins to the deep basses milieu. Music there was a terrible narcosis, a sort worked. “Although it may seem impossible to be- works and still dissatisfied with the stylistic basis above a mournful sustained harmony. The music’s of intoxication and oblivion, a going-off into irra- lieve,” Rachmaninoff continued, “this treatment of his music, he abandoned creative work for sev- grief grows more intense as it descends into the tional places.... It was not form or harmoniousness really helped me. I started to compose again at the eral years, during which time he devoted himself string choir’s lower reaches, but its somber rhyth- or Apollonic vision that was demanded of music, beginning of the summer.” In gratitude, he dedi- to the study of the music of such Medieval and mic motion becomes slower, as though the funeral but passion, feeling, langour, heartache. Such was cated the new Concerto to Dr. Dahl. Renaissance composers as Machaut, Ockeghem, cortege were increasingly reluctant to reach the Tchaikovsky’s music, and such also the music of Rachmaninoff wrote the second and third Obrecht and Josquin. Guided by the spirit and final resting place. Its stark simplicity of concept Rachmaninoff developed into.” After the failure movements of his rehabilitative Concerto in method of those ancient masters, Pärt broke his and singularity of emotion give this musical obse- of his First Symphony, Rachmaninoff was mired the summer and early autumn of 1900 in Italy, compositional silence in 1976 with the small piano quy an expressive significance that, like the man it in exactly such an emotional abyss as Sabaneiev Novgorod and Moscow; this incomplete version

24 CAL PERFORMANCES CAL PERFORMANCES 25 Program Notes Program Notes was heard at a charity concert in Moscow on line of mounting tension to bring this work to an and his music. In that year, the conductor Robert to read into it a specific, nationalistic program, October 14, 1900, with the composer at the key- electrifying close. Kajanus led the Helsinki Philharmonic through including one by Georg Schneevoight, a conduc- board and Alexander Siloti conducting. The Rachmaninoff once wrote, “I try to make mu- Europe to the Paris Exhibition on a tour whose tor and friend of the composer. The intention of opening movement was composed by the follow- sic speak simply and directly that which is in my purpose was less artistic recognition than a bid for this Symphony, he wrote, “was to depict in the first ing spring, and the premiere of the finished work heart at the time I am composing. If there is love international sympathy for Finnish political auton- movement the quiet pastoral life of the Finns, un- was given on October 14, 1901, with the same there, or bitterness, or sadness, or religion, these omy. As Sibelius’ music figured prominently in the disturbed by the thought of oppression. The second two principals and the orchestra of the Moscow moods become part of my music, and it becomes tour repertory, he was asked to join the entourage movement is charged with patriotic feeling, but the Philharmonic Society. The C minor Concerto either beautiful or bitter or sad or religious.” The as assistant to Kajanus. The tour was a success: for thought of a brutal rule over the people brings with was the first orchestral work to carry the name of heart of a true Romantic beat beneath the stern ex- the orchestra and its conductor, for , and it timidity of soul. The third, a scherzo, portrays the Rachmaninoff into the world’s concert halls. (His terior of this man; his music is a direct link to the especially for Sibelius, whose works it brought to awakening of national feeling in the people and the ubiquitous C-sharp minor Prelude of 1892 had great traditions of the 19th-century masters. a wider audience than ever before. Music and poli- desire to organize in defense of their rights. In the been a piano-bench and recital favorite for a de- tics usually make contentious bedfellows, but on finale hope enters their breasts and there is comfort cade.) Other advances in Rachmaninoff’s life soon this occasion they achieved a fortuitous symbiosis. in the anticipated coming of a deliverer!” As late followed—many successful musical compositions, Jean Sibelius (1865–1957) A year later, Sibelius was again traveling. as 1946, the Finnish musicologist Ilmari Kronn an appointment as the conductor of the Symphony No. 2 in D major, Op. 43 Through a financial subscription raised by Axel posited that the Symphony depicted “Finland’s Moscow Grand Theater, and a triumphant career Carpelan, he was able to spend the early months struggle for political liberty.” Sibelius insisted such as a concert pianist. There always remained buried Composed 1901–1902. Premiered on March 8, 1902, of 1901 in Italy away from the rigors of the descriptions misrepresented his intention—that it away in his innermost thoughts, however, those in Helsinki, conducted by the composer. Scandinavian winter. So inspired was he by the was his tone poems and not his symphonies which ghosts of self-doubt and insecurity that Nicholas culture, history and beauty of the sunny south were based on specific programs. This Symphony, Dahl could never have totally exorcised from the At the turn of the 20th century, two pressing that he envisioned a work based on Dante’s Divine he maintained, was pure, abstract expression and dour composer’s psychological constitution. concerns were foremost in the thoughts of Jean Comedy. However, a second symphony to follow not meant to conjure any definite meaning. As The C minor Concerto begins with eight Sibelius—his country and his compositions. His the First of 1899 was aborning, and the Dante with any great work, however, Sibelius’s Second bell-tone chords from the solo piano that herald home, Finland, was experiencing a surge of na- work was eventually abandoned. Sibelius was well Symphony can inspire many different interpreta- the surging main theme, which is announced by tionalistic pride that called for independence and launched on the new Symphony by the time he left tions, and the Finns have an understandable devo- the strings. A climax is achieved before a sudden recognition after eight centuries of domination by for home. He made two important stops before re- tion to Schneevoight’s patriotic view of the music drop in intensity makes way for the arching second Sweden and Russia, and he enthusiastically lent his turning to Finland. The first was at Prague, where despite Sibelius’s words—it is the piece most often theme, initiated by the soloist. The development philosophical and artistic support to the movement. he met Dvořák and was impressed with the famous performed at Finnish state occasions. section, concerned largely with the first theme, is In the 1890s, when Sibelius was still in his 20s, he musician’s humility and friendliness. The second The influence of German and Russian mu- propelled by a martial rhythm that continues with was drawn into a group called “The Symposium,” a stop was at the June Music Festival in Heidelberg, sic bears heavily on the first two symphonies of undiminished energy into the recapitulation. The coterie of young Helsinki intellectuals who cham- where the enthusiastic reception given to his com- Sibelius. Echoes of the works of Tchaikovsky and second theme returns in the horn before the mar- pioned the cause of Finnish nationalism. Of them, positions enhanced the budding European repu- Borodin and, to a lesser extent, Brahms are fre- tial mood is re-established to close the movement. Sibelius noted, “The ‘Symposium’ evenings were a tation that he had achieved during the Helsinki quent. However, the style is unmistakably Sibelian TheAdagio , a long-limbed nocturne with a run- great resource to me at a time when I might have Philharmonic tour of the preceding year. Still flush in its melodic and timbral attributes, and even in ning commentary of sweeping figurations from the stood more or less alone. The opportunity of ex- with the success of this 1901 tour when he arrived the distinctive technique of concentrated thematic piano, contains some beautiful concerted instru- changing ideas with kindred souls, animated by the home, he decided he was secure enough financial- development that was to flower fully in the fol- mental writing. The finale resumes the marching same spirit and the same objectives, exerted an ex- ly (thanks in part to an annual stipend initiated lowing symphonies. The first movement is mod- rhythmic motion of the first movement with its in- tremely stimulating influence on me, confirmed in in 1897 by the Finnish government) to leave his eled on the classical sonata form. As introduction, troduction and bold main theme. Standing in bold me my purpose, gave me confidence.” The group’s teaching job and devote himself full-time to com- the strings present a chordal motive that courses relief to this vigorous music is the lyrical second interest in native legends, music, art and language position. Though it was to be almost two decades through and unifies much of the movement. A theme, one of the best-loved melodies in the en- incited in the young composer a deep feeling for before Finland became independent of Russia as a bright, folk-like strain for the woodwinds and a tire orchestral literature, a grand inspiration in the his homeland that blossomed in such early works result of the First World War, Sibelius had come hymnal response from the horns constitute the ripest Romantic tradition. (Years ago, this melody as En Saga, Kullervo, Karelia and Finlandia. The into the full ripeness of his genius by the time of the opening theme. The second theme exhibits one was lifted from the Concerto by the tunesmiths of ardent patriotism of those stirring musical testa- Second Symphony. So successful was the premiere of Sibelius’s most characteristic constructions—a Tin Pan Alley and fitted with sufficiently maudlin ments became a rallying point and an inspiration of the work on March 8, 1902, that it had to be long held note that intensifies to a quick rhyth- phrases to become the popular hit Full Moon and to Finns, and they earned Sibelius a hero’s reputa- repeated at three successive concerts in a short time mic flourish. This theme and a complementary Empty Arms.) These two themes, the martial and tion among his countrymen. to satisfy the clamor for further performances. one of angular leaps and unsettled tonality close the romantic, alternate for the remainder of the In 1900, Sibelius was given a specific way in Because of the milieu in which the Second the exposition and figure prominently in the ensu- movement. The coda rises through a finely crafted which to further the cause of both his country Symphony arose, there have been several attempts ing development. A stentorian brass chorale closes

26 CAL PERFORMANCES CAL PERFORMANCES 27 Program Notes About the Artists this section and leads to the recapitulation, a com- soon engenders another climax. A soft timpani roll The Estonian National Symphony Orchestra The Principal Conductors of ENSO have been pressed restatement of the earlier themes. begins the series of themes again, but in expanded (ENSO) has its origins in 1926 as a small radio Olav Roots, Roman Matsov, Neeme Järvi, Peeter The second movement, though closely related presentations with fuller orchestration and greater orchestra. Over time, it has become Estonia’s rep- Lilje, Leo Krämer and . Since au- to sonatina form (sonata without development), emotional impact. resentative orchestra, and in recent years it has sub- tumn 2001, Nikolai Alexeev has been the Principal is best heard as a series of dramatic paragraphs The third movement is a three-part form whose stantially increased its international profile. The Conductor and Artstic Director of ENSO. Since whose strengths lie not just in their individual lyrical, unhurried central trio, built on a repeated high quality of ENSO’s recordings has attracted the 2002–2003 season Paavo Järvi has been active qualities but also in their powerful juxtapositions. note theme, provides a strong contrast to the mer- the attention of many recognized music maga- as the Artistic Advisor of the orchestra, and since The opening statement is given by bassoons in curial surrounding scherzo. The slow music of the zines, and its recordings have won several awards, 2007–2008 Olari Elts has served as Principal Guest hollow octaves above a bleak accompaniment of trio returns as a bridge to the closing movement, including a Grammy Award for its Virgin Classics Conductor. The orchestra has also performed un- timpani with cellos and basses in pizzicato notes. one of the most inspiring finales in the entire sym- recording of the Sibelius cantatas (Ellerhein Girl’s der many world-renowned guest conductors, in- The upper strings and then full orchestra take over phonic literature. It has a grand sweep and uplift- Choir, Estonian National Male Choir, ENSO, con- cluding Valery Gergiev, Mariss Jansons, Aram the solemn plaint, but soon inject a new, sharply ing spirituality that make it one of the last unadul- ductor Paavo Järvi). In 2005 Khachaturian, Sir Neville Marriner, Kurt Masur, rhythmic idea of their own which calls forth a terated flowerings of the great Romantic tradition. named ENSO’s CD Peer Gynt (Virgin Classics) as Gennady Rozhdestvensky, Leonard Slatkin, Igor halting climax from the brass choir. After a si- surprise highlight of the year, and in March 2006 Stravinsky, Evgeny Svetlanov and Yuri Temirkanov. lence, the strings intone a mournful motive that © 2009 Dr. Richard E. Rodda it also won BBC Music Magazine’s award for best In addition to numerous Estonian soloists, ENSO orchestral album. Released in August 2007, the has performed with world-famous guest solo- CD Magma (Virgin Classics), featuring Erkki- ists such as Pierre-Laurent Aimard, Vladimir Sven Tüür’s music conducted by Paavo Järvi, was Ashkenazy, Paul Badura-Skoda, Lazar Berman, chosen as the album of the month in the orchestral Bella Davidovich, Peter Donohoe, Emil Gilels, Olli category by BBC Music Magazine. In the October Mustonen, Sviatoslav Richter, Kolja Blacher, Sarah 2007 issue of Gramophone, Magma and ENSO’s Chang, Ida Haendel, Gidon Kremer, Viktoria CD of Ester Mägi’s music (Toccata Classics) ap- Mullova, , Vladimir Spivakov, Juri peared among the 10 most outstanding new al- Bashmet, David Geringas, Natalia Gutman, Arto bums. In addition to close cooperation between Noras, Mstislav Rostropovitch, Patrick Gallois, ENSO and Virgin Classics, the orchestra has also Aurèle Nicolet, Dame Evelyn Glennie, Dame Kiri recorded music for ECM, Alba, Camerata, BIS, Te Kanawa, Patricia Rozario, Andrea Bocelli, José Antes Edition, Ondine, Finlandia, Consonant Carreras, Peter Schreier, Håkan Hagegård, Sergei Works, Melodiya and other labels. The orchestra Leiferkus and Matti Salminen. regularly records music for Estonian Radio. The repertoire of ENSO includes music from As the orchestra has become better known in the baroque period to premiere performances of the West, the concert venues outside Estonia in modern works. ENSO has been the first performer which it performs have become increasingly presti- of the symphonic pieces of almost all Estonian gious. The orchestra has toured widely throughout composers, including Arvo Pärt, Erkki-Sven Tüür, the world (Romania, Bulgaria, Kuwait, Germany, , Lepo Sumera, Eino Tamberg, Tõnu , Sweden, Finland, Poland, Switzerland, Kõrvits, Helena Tulve and Toivo Tulev. Spain, Russia). In 2003, ENSO toured Italy, per- At present, the Estonian National Symphony forming 17 concerts. In 2006, the orchestra per- Orchestra comprises approximately 100 musicians formed with the Estonian Philharmonic Chamber and averages 60–65 concerts per season. Choir, conducted by Olari Elts, at a concert in Turin Cathedral dedicated to the music of Arvo Eri Klas, a native of Estonia whose musical god- Pärt, as part of the culture program of the Turin father was the legendary violinist and conductor Olympic Games. The present tour of 18 concerts David Oistrakh, frequently guest conducts on the marks the orchestra’s U.S. debut. ENSO has also North American continent. taken part in music festivals at home and abroad Mr. Klas made his U.S. debut in 1991 with the (Il Settembre dell’ Accademia 2008 in Verona, Los Angeles Philharmonic at the Hollywood Bowl. Baltic Sea Festival in 2005 and 2006 in Stockholm, In 1995, he made his debuts with the Cleveland Yehudi Menuhin Festival Gstaad Musiksommer in Orchestra and the Chicago Symphony following Switzerland, Europamusicale in Munich). highly successfully appearances at the Blossom and

28 CAL PERFORMANCES CAL PERFORMANCES 29 About the Artists About the Artists

Indianapolis, Baltimore, Milwaukee, Seattle and 1996 as the chief conductor of the Århus Symphony Yang made her New York Philharmonic debut Phoenix symphonies and the National Arts Centre Orchestra, from 1996 to 2003 as the chief conduc- with in Avery Fisher Hall, preceded Orchestra in Ottawa. In March 2009, he will lead tor of the Netherlands Radio Symphony Orchestra, by concerts with the orchestra in Korea. She ap- the Estonian National Symphony Orchestra on an and from 1995 to 2003 as the artistic director of peared with them again in June 2007 in New York extensive tour of the . In addition to the Tampere Philharmonic Orchestra. and in July 2007 in Vail, Colorado, in July 2008 in his work in the Netherlands, Finland and Estonia, Greatly interested in the education of young Vail and in Avery Fisher Hall. Ms. Yang performed recent and upcoming engagements in Europe and musicians, Mr. Klas has worked with many in- with the orchestra again in fall 2008 at the special Asia include orchestral concerts and opera produc- ternational youth orchestras. He has conducted request of Maestro Maazel in his final season as tions in Belgium, Denmark, Norway, Japan and the Estonian Youth Orchestra and the Sibelius Music Director. Ms. Yang’s recent activities have Russia, both in St. Petersburg and with the Bolshoi Academy Orchestra numerous times, including also included engagements with the symphonies Opera Orchestra in Moscow. on a tour to with the latter. In addition, he of Houston, Indianapolis, Fort Worth, Colorado, Eri Klas is closely associated with leading con- has worked with the Irish Youth Orchestra and Kansas City, Colorado Springs, Nashville and the temporary composers. He conducted the world led the Asian Youth Orchestra on tours through- National Symphony, as well as numerous recitals premiere of ’s Per Gynt at the out Asia and Europe with Gidon Kremer as solo- throughout North America and Europe, includ- Hamburg Opera and the Royal Opera House in ist. Mr. Klas was also a professor of conducting at ing appearances at the Kennedy Center, for the Stockholm and collaborated with Natalia Gutman the Sibelius Academy from 1993 to 1997, and since Washington Performing Arts Society, and the performing the world premiere of Schnittke’s First 1998 has held the guest professor position with the Tonhalle in Zurich. Cello Concerto with the Munich Philharmonic. A Estonian Academy of Music and Theatre. The 2008–2009 season includes Joyce Yang’s great champion of Estonian composers, he has con- Mr. Klas has been awarded the Order of New York recital debut at the Metropolitan ducted world premieres of works by Pärt, Tamberg, “Nordstjernen” from His Majesty King Carl Museum, the Ravinia Festival with the Chicago Tormis, Tubin and Eller, whose compositions he Gustav of Sweden, the Order of Finnish Lion and Symphony and James Conlon and at the Hollywood

Erkki Ruokonen Erkki also often introduces in the United States. In addi- an honorary doctorate from the Estonian Academy Bowl. She has been invited by Maestro Conlon to tion, Mr. Klas conducted the first performance of of Music and Theatre. A former Estonian light- play Bernstein’s Age of Anxiety with the Deutsches Ravinia festivals. Since then, he has appeared with Henryk Górecki’s Flute Concerto in Amsterdam weight junior boxing champion, he is a member of Symphonie Berlin in fall 2009, which will mark most of the major North American orchestras in- and the U.S. premiere of the same work with the the Estonian Olympic Committee, Chairman of her debut with that orchestra. cluding the Boston, St. Louis, Detroit, Cincinnati, Chicago Symphony. His discography includes the Estonian Cultural Foundation and a Goodwill Joyce Yang continues to captivate audiences Vancouver and National symphonies and the Schnittke’s Third Symphony, ballet music fromPer Ambassador for UNICEF. and colleagues with her warm and generous per- Minnesota Orchestra. Gynt and Four Violin Concerti, as well as works by sonality, combined with musicianship that belies Equally in demand throughout Europe, Sibelius on the BIS and Ondine labels. Ms. Klas’s In June 2005, at 19 years of age, Joyce Yang her age. Other recent engagements include recitals Mr. Klas was named the Chief Conductor of the most recent release is a CD of orchestral works by was awarded the silver medal at the Twelfth Van in Chicago, presented by the Chicago Symphony; Novaya Opera Theatre of Moscow in March 2006. John Corigliano with the Tampere Philharmonic Cliburn International Piano Competition. The the Tonhalle in Zurich; Fort Worth for the Van In addition, he is currently the Artistic Director Orchestra for Ondine. prize package included $20,000, three years of Cliburn Foundation, Seoul, Korea; and six recit- of the Tallinn Philharmonic in Estonia; Principal Eri Klas began his conducting studies at the U.S. concert engagements, and a compact disc re- als in Hawaii. She appears with no fewer than 15 Guest Conductor of the Finnish National Opera Tallinn Conservatory and upon graduation went cording on the Harmonia Mundi USA label. The orchestras throughout North America, and contin- and the Holland Kammerphilharmonie; and to St. Petersburg to work with Nikolai Rabinovich. youngest of the Cliburn Competition’s partici- ues her collaboration with the Takács Quartet. Conductor Laureate of the Tampere Philharmonic He made his debut at the Estonian National Theatre pants, she was the recipient of both the Steven De Born in Seoul, Korea, Ms. Yang received her and the . He has guest in Tallinn in 1964 conducting Leonard Bernstein’s Groote Memorial Award for the Best Performance first piano lessons at age four from her aunt. She conducted the Berlin, Munich and Rotterdam phil- West Side Story. In 1969, he was appointed assistant of Chamber Music, as well as the Beverley Taylor quickly took to the instrument, which she received harmonics and appears regularly with the Tonhalle conductor at the in Moscow, and Smith Award for the Best Performance of a New as a birthday present, and over the next few years Orchestra, Swedish and Finnish radio symphonies, for the next 12 years appeared regularly on the po- Work. Of her spectacular finish at one of the won several national piano competitions in Korea. BBC Philharmonic, Stockholm and Helsinki phil- dium to conduct the famed Bolshoi orchestra, tak- world’s most prestigious showcases for young tal- By age 10, she had entered the Korean National harmonics, RAI Turino and the Vienna Radio ing part in numerous opera, ballet and orchestral ent, she told reporters, “I’m still dreaming.” Conservatory, and subsequently made a number Symphony, among others. Altogether, he has con- productions in Moscow and on tours throughout The dream continued in summer 2006 as Joyce of concerto and recital appearances in Seoul and ducted at least 100 orchestras in more than 45 dif- Europe. He was named Music Director in 1975 Yang appeared with the Philadelphia Orchestra at Taejon. In 1997, Ms. Yang moved to the United ferent countries around the world. of the Estonian National Opera, where he served the Mann Center, the Chicago Symphony at the States to begin studies at the pre-college division of Recent and upcoming engagements in for 20 years before becoming conductor laureate. Ravinia Festival and the Aspen Symphony, and The in New York. Mr. Klas’s North American schedule include guest From 1985 to 1989, he served as music director at she opened the season of the National Symphony During her first year at Juilliard, she won its appearances with the Toronto, Houston, Dallas, the Stockholm Royal Opera Theatre, from 1990 to at the Kennedy Center. In November 2006, Joyce Pre-College Division Concerto Competition,

30 CAL PERFORMANCES CAL PERFORMANCES 31 About the Artists

Symphonie Berlin in fall 2009, which will mark her debut with that orchestra. Joyce Yang continues to captivate audiences and colleagues with her warm and generous per- sonality, combined with musicianship that belies her age. Other recent engagements include recitals in Chicago, presented by the Chicago Symphony; the Tonhalle in Zurich; Fort Worth for the Van Cliburn Foundation, Seoul, Korea; and six recit- als in Hawaii. She appears with no fewer than 15 orchestras throughout North America, and contin- ues her collaboration with the Takács Quartet. Born in Seoul, Korea, Ms. Yang received her first piano lessons at age four from her aunt. She quickly took to the instrument, which she received as a birthday present, and over the next few years won several national piano competitions in Korea. By age 10, she had entered the Korean National Conservatory, and subsequently made a number of concerto and recital appearances in Seoul and Taejon. In 1997, Ms. Yang moved to the United States to begin studies at the pre-college division of

© Oh Seok Hoon The Juilliard School in New York. During her first year at Juilliard, she won its Pre-College Division Concerto Competition, re- Yang made her New York Philharmonic debut sulting in a performance of the Haydn Concerto in with Lorin Maazel in Avery Fisher Hall, preceded D major with the Juilliard Pre-College Chamber by concerts with the orchestra in Korea. She ap- Orchestra. In April 1999, she was invited to perform peared with them again in June 2007 in New York at a benefit concert with the Juilliard Orchestra, and in July 2007 in Vail, Colorado, in July 2008 in conducted by Leonard Slatkin. Winning at the Vail and in Avery Fisher Hall. Ms. Yang performed Philadelphia Orchestra’s Greenfield Competition with the orchestra again in fall 2008 at the special led to a performance of the Prokofiev Piano request of Maestro Maazel in his final season as Concerto No. 3 with the Philadelphia Orchestra Music Director. Ms. Yang’s recent activities have when she was just 12. also included engagements with the symphonies Ms. Yang is featured in In the Heart of Music, of Houston, Indianapolis, Fort Worth, Colorado, the film documentary about the 2005 Van Cliburn Kansas City, Colorado Springs, Nashville and the International Piano Competition. Her debut National Symphony, as well as numerous recitals disc distributed by Harmonia Mundi USA in- throughout North America and Europe, includ- cludes live performances of works by Bach, Liszt, ing appearances at the Kennedy Center, for the Scarlatti and Australian composer Carl Vine. Washington Performing Arts Society, and the She currently resides in , where Tonhalle in Zurich. she attends The Juilliard School as a student of The 2008–2009 season includes Joyce Yang’s Dr. Yoheved Kaplinsky. New York recital debut at the Metropolitan Museum, the Ravinia Festival with the Chicago Symphony and James Conlon and at the Hollywood Bowl. She has been invited by Maestro Conlon to play Bernstein’s Age of Anxiety with the Deutsches

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