Westchester Philharmonic 2018 – 2019 Season

2018–2019 Season Welcome

elcome to the 2018–2019 season!

It has become a hallmark of the Westchester Philharmonic that we introduce new faces and new music, side-by-side with familiar artists and great masterworks of the classical canon.

This season, our 36th, opens with just such masterwork: Ravel’s heart-wrenching Pavane, Haydn’s famed “Drumroll” symphony, and the towering First Symphony of Johannes Brahms, all led by Principal Conductor Jaime Laredo.

December’s Winter Pops will be one big music party, as we introduce four artists who are new to Westchester audiences but much in-demand everywhere else: The esteemed conductor (and Rockland County native) Rachael Worby, with the genre-defying trio Time for Three, featuring violinists Nicolas Kendall and Charles Yang, and bassist Ranaan Meyer.

Our Friends & Family concert in February is designed to reach younger minds while remaining utterly stimulating and satisfying for seasoned concert-goers. This year, Maestra Worby will take you on a special journey through the mind of Leonard Bernstein, without playing a single note composed by him. This being the 101st anniversary of Bernstein’s birth, we’ve dubbed it “Lenny 101.” Joining Worby and the Phil is Savion Glover, a bona fide legend of tap dance, for Gould’s Tap Dance Concerto and a rollicking, other-worldly rendition of Vivaldi’s Four Seasons. Fasten your seatbelt.

Our April finale uses a far simpler idea: All-Beethoven, with Pamela Frank joining Maestro Laredo for the composer’s famed violin concerto, and ending with the iconic Fifth Symphony.

If you love music and adventure, fun and pathos, a chance to learn, or just a chance to listen with no other purpose…you have come to the right place.

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

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2018–2019 Season Meet the ORCHESTRA Musicians of the Westchester Philharmonic

Jaime Laredo, Principal Conductor

VIOLIN CELLO FRENCH HORN Robert Chausow, Eugene Moye, Principal Peter Reit, Principal Concertmaster Roberta Cooper Will De Vos Michael Roth, Lanny Paykin Larry 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 Mike 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 Jim 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 Chris Oldfather, Principal Ah Ling Neu Leslie Tomkins BASSOON LIBRARIAN Jessica Troy Frank Morelli, Principal Kristen Butcher Harry Searing PERSONNEL MANAGER Jonathan Hass & Neil Balm

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Jaime Laredo, Principal Conductor

erforming for over six decades international prominence. With 2009 marking before audiences across the globe, the 50th anniversary of his prize, he was Jaime Laredo has excelled in the honored to sit on the Jury for the final round multiple roles of soloist, conductor, recitalist, of the Competition. pedagogue, and chamber musician. Since his stunning orchestral debut at the age of eleven In the 2017-18 Season, Mr. Laredo tours the with the San Francisco Symphony, he has won United States as conductor, soloist and as a the admiration and respect of audiences, critics member of the award-winning Kalichstein- and fellow musicians with his passionate and Laredo-Robinson Trio, which continues its polished performances. That debut inspired 40th Anniversary celebration. This season one critic to write: “In the 1920’s it was on violin, he reprises André Previn’s Double Yehudi Menuhin; in the 1930’s it was Isaac Concerto for Violin and Cello, with his Stern; and last night it was Jaime Laredo.” wife, cellist Sharon Robinson in Vermont. His education and development were greatly Performances of this work have received raves influenced by his teachers Josef Gingold and since its 2016 premiere. It was commissioned Ivan Galamian, as well as by private coaching specifically for the duo by the Cincinnati, with eminent masters Pablo Casals and Kansas City, Austin, Detroit, Pacific and George Szell. At the age of seventeen, Jaime Toronto symphony orchestras, as well as the Laredo won the prestigious Queen Elisabeth Deutsche Kammerphilharmonie Bremen and of Belgium Competition, launching his rise to the Swedish Chamber Orchestra.

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A new double concerto by Chris Brubeck Recent conducting and solo engagements have is their next collaboration. Additionally, taken Mr. Laredo to the Chicago Symphony Laredo’s remarkable sound can be heard on Orchestra, the Detroit Symphony, the New viola in Mozart Sinfonia Concertante on tour World Symphony and Scottish Chamber throughout Vermont and at Carnegie Orchestra in addition to the New York String Hall with Pamela Frank, his friend and Orchestra at Carnegie Hall and the Vermont onetime student. Symphony. Festival engagements have taken him across the globe from the Chautauqua Mr. Laredo continues to tour and record as a Music Festival in New York to Seoul Spring member of the Kalichstein-Laredo-Robinson Festival in Korea. Trio. Founded by Mr. Laredo, Sharon Robinson, and pianist Joseph Kalichstein in A recent project titled Two x Four celebrated 1976, the Kalichstein-Laredo-Robinson Trio the relationship between the teacher and the recently celebrated their 40th Anniversary student through music. With his colleague with Beethoven Cycles and a specially and former student Jennifer Koh, Mr. Laredo commissioned work entitled, “Pas de Trois” and Ms. Koh performed the Double Concerti written for them by Pulitzer Prize-winning for Two Violins by J.S. Bach, works by composer Ellen Taaffe Zwilich; this season’s Philip Glass, and two newly commissioned performances of the work include the La Jolla concerti by composers Anna Clyne and David Music Society SummerFest and Chamber Ludwig with the Delaware Symphony, the Music Society of Lincoln Center in New York. IRIS orchestra, Chicago Symphony, Vermont The Trio performs regularly at Lincoln Center, Symphony, Los Angeles Chamber Orchestra, Carnegie Hall, the 92nd Street Y, and Town and with the Curtis Orchestra on tour at the Hall in New York, and at the Kennedy Center Kimmel Center in Philadelphia, Kennedy where they are the ensemble in residence. Center and The Miller Theater of Columbia They have toured internationally to cities University. The recording of this acclaimed that include Lisbon, Hamburg, Copenhagen, project was released by Cedille Records London, Paris, Amsterdam, Vienna, Helsinki, in 2014. Buenos Aires, Tokyo, Seoul, Sydney, and Melbourne. Among, its numerous awards, the Other conducting and performing highlights Trio was named Musical America’s Ensemble of include the Chicago Symphony, Boston the Year in 2002. In addition to his performing Symphony Orchestra, Seattle Symphony, work, Mr. Laredo’s season includes conducting Los Angeles Philharmonic, New York engagements with the Vermont Symphony, Philharmonic, San Francisco Symphony, and at Carnegie Hall with the New York String Pittsburgh Symphony, Detroit Symphony, Orchestra. 2017 also marks the sixth year St. Louis Symphony, Cleveland Orchestra and of Laredo’s tenure as a member of the violin Philadelphia Orchestra, among many others. faculty at the Cleveland Institute of Music. Abroad, he has performed with the London Symphony, the BBC Symphony, the English In past seasons, Mr. Laredo and Ms. Robinson Chamber Orchestra, the Academy of St. performed in recital in the U.S., Canada and Martin-in-the-Fields, the Royal Philharmonic on tour in Bolivia, including performances of and the Scottish Chamber Orchestra, which he Richard Danielpour’s Inventions on a Marriage. led on two American tours and in their Hong The 2011 work was commissioned specifically Kong Festival debut. His numerous recordings for the duo and was dedicated to and inspired with the SCO include Vivaldi’s Four Seasons by their marriage, and explores in “musical (which stayed on the British best-seller charts snapshots” the bond of long-term relationships. for over a year), Mendelssohn’s A Midsummer Night’s Dream, Italian and Scottish symphonies, Beethoven’s Violin Concerto and recordings of Rossini overtures and Wagner’s Siegfried Idyll. 8 WESTCHESTER PHILHARMONIC | 2018–2019 SEASON Jaime Laredo

For fifteen years, Mr. Laredo was violist of the Recognized internationally as a sought-after piano quartet consisting of renowned pianist violin teacher, Mr. Laredo has fostered the Emanuel Ax, celebrated violinist Isaac Stern, education of violinists that include Leila and distinguished cellist Yo-Yo Ma, his close Josefowitz, Hillary Hahn, Jennifer Koh, Ivan colleagues and chamber music collaborators. Chan, Soovin Kim, Pamela Frank and Bella Together, the quartet recorded nearly the entire Hristova. After 35 years of teaching at the piano quartet repertoire on the SONY Classical Curtis Institute of Music in Philadelphia, and label, including the works of Beethoven, seven years at Indiana University’s Jacob School Mozart, Schumann, Fauré, and Brahms, for of Music, Mr. Laredo began teaching at the which they won a Grammy Award. Cleveland Institute of Music in 2012, where his wife cellist Sharon Robinson also holds a Mr. Laredo has recorded close to one hundred teaching position. Additionally, Mr. Laredo discs, received the Deutsche Schallplatten is the conductor of the New York String Prize, and has been awarded seven Grammy Orchestra at Carnegie Hall, which brings nominations. Mr. Laredo’s discs on CBS and young musicians from around the world to the RCA have included the complete Bach Sonatas stage every December. with the late Glenn Gould and a KOCH International Classics album of duos with In demand worldwide as a conductor and Ms. Robinson featuring works by Handel, a soloist, in addition to serving as Principal Kodaly, Mozart and Ravel. His releases on Conductor of the Westchester Philharmonic, the Dorian label include Schubert’s complete Mr. Laredo has held the position of Music works for violin and piano with Stephanie Director of the Vermont Symphony Orchestra Brown, and Virtuoso!, a collection of favorite since 1999 and. In 2009, Mr. Laredo and violin encores with pianist Margo Garrett. his wife were named the artistic directors of Other releases include Mozart’s Sinfonia the Linton Chamber Music Series in Concertante and Concertone with Cho-Liang Cincinnati, Ohio. Lin for Sony. Acclaimed Kalichstein-Laredo- Robinson Trio releases include complete During his 39 years as Artistic Director for trios and sonatas of Shostakovich, complete New York’s renowned Chamber Music at the chamber works of Maurice Ravel, a 4-disc Y series, Mr. Laredo created an important set of the complete Brahms Piano Trios, a forum for chamber music performances, set of complete Beethoven Piano Trios and and developed a devoted following. Further, complete Schubert Piano Trios. The Trio’s most his stewardships of the annual New York recent release on Azica, Passionate Diversions, String Orchestra Seminar at Carnegie Hall includes the piano trio, septet and quintet and the International Violin Competition of written for them by Ellen Taaffe Zwilich. Indianapolis have become beloved educational Mr. Laredo has also released an album with pillars of the string community. A principal Sharon Robinson and the Vermont Symphony figure at the Marlboro Music Festival in years entitled Triple Doubles, which includes three past, he has also been involved at Tanglewood, double concertos dedicated to the duo: Daron Aspen, Ravinia, Mostly Mozart, and the Hagen’s Masquerade; a new, fully-orchestrated Hollywood Bowl, as well as festivals in Italy, version of Richard Danielpour’s A Child's Spain, Finland, Greece, Israel, Austria, Reliquary (originally written as a piano trio for Switzerland and England. the Kalichstein-Laredo-Robinson Trio); and David Ludwig’s Concerto for Violin, Cello Born in Bolivia, Jaime Laredo resides in and Orchestra. Both albums were released by Guilford, VT and Cleveland, OH, with his BRIDGE in November 2011. wife, cellist Sharon Robinson.

WESTCHESTERPHIL.ORG | 914-682-3707 9 Did You Know? Young people who participate in the arts for at least three hours on three days each week through at least one full year are: • 4 times more likely to be recognized for academic achievement • 3 times more likely to be elected to class office within their schools • 4 times more likely to participate in a math and science fair • 3 times more likely to win an award for school attendance

• 4 times more likely to win an award for writing an essay or poem

10 WESTCHESTER PHILHARMONIC | 2018–2019 SEASON WESTCHESTERPHIL.ORG | 914-682-3707 11 Joshua Worby, Executive & Artistic Director

ppointed as Jorge Mester, Tomomi Nishimoto, and Executive Director Itzhak Perlman. Soloists he has engaged in 2006, Joshua notably include Jennifer Koh, Leon Fleisher, Worby oversees the Ann-Marie McDermott, Julia Bullock, Alisa Westchester Philharmonic’s programming, Weilerstein, Dawn Upshaw, Eliot Fisk, administration, operations, educational Cho-Liang Lin, Lynn Harrell, Ann Hobson programs, and fundraising. Since 2008 Pilot, Leila Josefowicz, Anthony McGill, he has also been chief architect of the Michelle DeYoung, Tai Murray, Peter Philharmonic’s concert seasons, programming Schickele, Brian Stokes Mitchell, Barbara repertoire and engaging and collaborating Cook, Kelli O’Hara, Norm Lewis, and with conductors and soloists including Branford Marsalis. Jaime Laredo, Ted Sperling, Raymond Leppard, Jeremy Denk, Nadja Salerno- Prior to the Phil, Mr. Worby was the Sonnenberg, Kazem Abdullah, Edgar Executive Director of the Princeton Meyer, Andrew Litton, Jahja Ling, Marvin Symphony Orchestra from 2001-2006, Hamlisch, Cho-Liang Lin, George Manahan, where he effected nearly double overall 12 WESTCHESTER PHILHARMONIC | 2018–2019 SEASON Joshua Worby growth in attendance, contributions, and and acting with Jose Quintero and Bernard musicians’ wages. Beckerman, while also composing and performing live sound scores Off-Broadway Before entering the orchestra field, for Richard III, Slaveship, and the U.S. Mr. Worby worked in the for-profit debut of Cao Yu’s Peking Man, a collaboration business arena. At the National Basketball with Arthur Miller. At the Roundabout Association he managed licensing and Theatre he composed and performed as an sponsorships, including the roll-outs of onstage musician-actor in Enrico IV and the inaugural 1992 “Dream Team,” the Rosencrantz and Guildenstern Are Dead. WNBA, and the NBA Store on Fifth Ave. He later co-founded one of the Mr. Worby serves on the New York State earliest e-commerce businesses, Justballs! Council for the Arts special diversity task a sporting goods website for which he force, and, in 2016 was nominated as one and his partners were accorded numerous of 40 exceptional “Diversity Champions” industry honors and awards, including by the Westchester & Fairfield County Forbes Magazine’s “Best of the Best.” Business Journals chosen for his unique accomplishments, community involvement A former clarinetist, Mr. Worby received and diversity advocacy. He serves as a his Bachelor of Arts in Music Theory panelist on NYSCA’s Regional Economic and Composition from the Crane Development Council and has served on School of Music at SUNY Potsdam with the boards of the League of American interdisciplinary studies in theater and Orchestras, the New School for Music dance. As a graduate theater student at Study, New Jersey Tap Ensemble, and Columbia University he studied directing New Jersey Opera.

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Sunday, October 21, 2018, at 3 pm The Eugene and Emily Grant Opening Concert Jaime Laredo, conducting

MAURICE RAVEL (1875–1937) Pavane pour une infante défunte

FRANZ JOSEPH HAYDN (1732–1809) Symphony No.103 in E-flat major, Hob. I:103, “Drumroll” I. Adagio — Allegro con spirito II. Andante più tosto allegretto III. Menuetto IV. Finale: Allegro con spirito

Intermission

JOHANNES BRAHMS (1833–1897) Symphony No. 1 in C minor, Op.68 I. Un poco sostenuto — Allegro II. Andante sostenuto III. Un poco allegretto e grazioso IV. Adagio — Più andante — Allegro non troppo, ma con brio — Più allegro

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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Pavane pour une infante défunte princesses are called “infantas”). Otherwise MAURICE RAVEL it is rather atypical of his music. The style Born 7 March 1875 in Ciboure, is deliberately archaic, a concession to Basses-Pyrenées, France the slow, processional sixteenth-century Died 28 December 1937 in Paris Italian dance from which it takes its name. Major sevenths and ninths give it its rich • This modest piece was Ravel’s first harmonic aura. Even at age 24, Ravel “big hit” knew how to establish and maintain a • Like many of his works, it was magical mood. originally for piano • A Pavane is a slow, procession- Ravel transcribed the Pavane for a like dance, originating in the small orchestra of two flutes, oboe, Italian Renaissance two clarinets, two bassoons, two horns, harp and muted strings. Ravel’s Pavane pour une infante défunte (“Pavane for a dead princess”) is a salon piece that made good. Written in 1899 Symphony No.103 in E-flat major, for solo piano, it became enormously Hob. I:103, “Drumroll” popular among the French bourgeoisie, FRANZ JOSEPH HAYDN considerably boosting Ravel’s then Born 31 March, 1732 in Rohrau, Austria slender reputation. His earliest surviving Died 31 May, 1809 in Vienna, Austria compositions date from 1893; this one was thus the first major success. In later • One of the celebrated “London” years, he was critical of the Pavane, Symphonies, the “Drumroll” writing in 1912: represents mature Haydn • The famous drumroll launches Alas, its faults I can perceive only too Haydn’s slow introduction well: the influence of Chabrier is much • Three of the four movements adapt too glaring, and the structure rather Central European folk songs as themes poor. The remarkable interpretations • Listen for horn calls and clever use on this inconclusive and conventional of one tune in the finale work have, I think, in great measure contributed to its success. The moment this symphony begins, you will understand how it acquired its His reference to “remarkable interpretations” nickname. A dramatic solo timpani roll alludes to the title, which spurred calls us to order, inaugurating a mysterious countless romantic and literary fancies slow introduction. Just for the record, among its interpreters and listeners at however, the subtitle is not Haydn’s, nor the turn of the century. Ironically, Ravel does it even date from its first audience. confessed that his evocative title was Although German and Austrian listeners primarily chosen because of its mellifluous identified this symphony as “mit dem alliterative appeal in his native tongue. Paukenwirbel” (with the kettledrum roll) shortly after its composition, the The Pavane, which Ravel orchestrated in familiar name is a nineteenth-century 1910, shares with many of his other pieces concoction. This 103rd symphony, Haydn’s a loose association with Spain (whose royal penultimate symphonic essay, came to

16 WESTCHESTER PHILHARMONIC | 2018–2019 SEASON Program Notes - CONCERT I fruition during his second London sojourn nature pervades most of this movement, in 1794 and 1795. interrupted briefly toward the end by a restatement of the portentous Travel challenges in the 18th century drumroll and some music from the slow Travel from the European continent to introduction before resuming the Allegro England was arduous and time-consuming for a spirited close. in the late eighteenth century. The entrepreneur Johann Peter Salomon had The slow movement is a remarkable set first persuaded Haydn to travel to London of alternating variations, a form Haydn in 1790, then again in 1793. Two years favored and in which he excelled. He later, Salomon was having difficulty luring switches between minor and major modes, singers to England for his concert series. using Croatian folk songs that he knew Political chaos in the wake of the French from Eisenstadt for his themes. The Revolution made it even more difficult to second variation in major mode features attract suitable vocal soloists. Salomon an elegant solo for the concertmaster, was forced to cancel his February 1795 lending an element of concerto within the concert season. framework of a symphony and doubtless saluting Haydn’s friend Viotti. In a Concert life in 1790s London splendid coda, Haydn fuses together his London was still rich in musical resources. two Croatian melodies in a masterpiece of Notably, the Opera’s sizeable orchestra of counterpoint and surprising key changes. sixty players was available. Its leader was At the climax, the timpani executes Giovanni Battista Viotti, an Italian-born another prominent drumroll, reminding violinist and composer who had fled Paris us of the symphony’s moniker. during the Terror for the safety of London in 1793. The ever-pragmatic Salomon The minuet is stately and grand, with pooled his resources with Viotti, thereby some surprising modulations that look salvaging part of his investment. Haydn, forward to Beethoven, as do its sudden who liked Viotti, was happy to compose dynamic changes. Haydn closes the three symphonies for Viotti’s 1795 Opera symphony with a joyous romp and a Concerts. The première of the new one in frisson of dazzlement. The opening horn E-flat major took place in London on call introduces, then accompanies, a 2 March, 1795. lively violin tune – coincidentally another folk song from Eisenstadt. We have in Musicians’ corner this simple opening the material for the At nearly half an hour, this is one of entire splendid movement. The technique Haydn’s longest and grandest symphonies. is another Haydn signature, called The famous drumroll inaugurates a slow monothematicism. Basically, one tune introduction like none other in Haydn’s generates all the music we hear. The idea is or anyone else’s symphonies. Unison that each successive theme is a restatement bassoon and low strings state the first or variant of the opening. In this case, the idea, a romantic notion not echoed until violins’ repeated rhythmic idea dominates, Schubert’s “Unfinished” Symphony binding the music together with ingenious three decades later. Presently the Allegro logic. If you listen carefully to the first con spirito lightens the mood, with a measures, you’ll enjoy the ride even more! waltz-like lilt. Haydn’s irrepressible good

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Haydn scored the symphony for In that sense, everything orchestral that woodwinds, horns, and trumpets in pairs, Brahms composed up until the First timpani, and strings. Symphony was a form of preparation for him to fulfill the daunting legacy Schumann had bequeathed to him. He Symphony No. 1 in C minor, Op.68 produced four large, symphonic works JOHANNES BRAHMS while he honed his orchestral skills: the Born 7 May 1833 in Hamburg, Germany D-minor Piano Concerto, Op. 15 Died 3 April 1897 in Vienna, Austria (1854-58), the two Serenades, Opp.11 (1857-58) and 16 (1858-59, revised • Slow introductions precede the first 1875), and the Variations on a Theme by and last movements — very unusual Haydn, Op.56a (1873). The orchestral for Brahms fabric of the major choral works he • Like Beethoven’s Fifth Symphony, this worked on during the 1860s and early work moves from tragedy to triumph 1870s was also significant in strengthening • Listen for a horn call echoed by flute Brahms’ command of symphonic at the beginning of the finale resources. A German Requiem, Op.45 • Brahms’ majestic chorale melody is (1857-68), was followed by the dramatic clearly descended from Beethoven’s cantata Rinaldo, Op.50 (1869), the Alto “Ode to Joy” Rhapsody, Op.53 (1869), Schicksalslied, Op.54 (1868-71), and Triumphlied, The moniker “Beethoven’s Tenth” has Op.55 (1870-71). Each of them became been attached to Brahms’s First Symphony a repository for important instrumental as almost since before it was completed in well as vocal ideas. 1876. Hans von Bülow (1830-1894), the eminent conductor, pianist and composer, All along, Brahms had the goal of a is responsible for thus dubbing the symphony in mind. As early as 1854, C-minor Symphony. He was recognizing probably with Robert Schumann’s Brahms’ fulfillment of a prophecy encouragement, Brahms was at work on articulated nearly a quarter century before, symphonic sketches. Two decades elapsed when Robert Schumann hailed then before that music found its way into any 20-year-old Johannes Brahms as the great permanent form. Clara Schumann and Beethoven’s successor. Albert Dietrich both saw a draft of the first movement in 1862, in a version not Brahms took the legacy of Beethoven very yet preceded by slow introduction. Some seriously, and the spectre of Beethoven five years later, Brahms wrote a letter to lay heavily on his shoulders. He was a Clara including the famous horn theme brutal critic of his own compositions, that became the transition to the hymn and destroyed a large number of sketches of the finale. Not until 1873, however, and completed works that did not satisfy did he concentrate seriously on the him. Nowhere was his self-criticism more completion of his First Symphony. He merciless than in the realm of orchestral waited until the age of 43 to contribute to music, because he was keenly aware that the symphonic canon. his first symphony would be compared to Beethoven. “You do not know what Brahms completed his Opus 68 at it is like hearing his footsteps constantly Lichtenthal during the autumn of 1876. behind one,” Brahms wrote.

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The premiere took place at Karlsruhe Brahms’ good friend Theodor Billroth in November. Brahms chose the smaller likened the C-minor symphony’s first town because it was a less politically movement to “a kind of Faustian stressful musical community than Vienna overture” that might be thought of as a or Leipzig. He wrote to Otto Dessoff, grand introduction to the whole work. conductor of the Karlsruhe orchestra: Indeed, its complicated chromatic themes and inexorable timpani at the opening It was always my cherished and secret are hardly the stuff of which popular wish to hear the thing first in a small “singable” tunes are made. Hans Gál town which possessed a good friend, a offers an insightful commentary as to good conductor, and a good orchestra. why Wagner and his followers would have experienced impatience listening to the Dessoff was delighted by the honor opening movement. accorded his orchestra. Brahms foresaw that the symphony might not have direct The nobility of this first movement popular appeal, writing to Carl Reinecke rests on qualities that were alien to of the Leipzig Gewandhaus Orchestra: the dramatic composer: a thematic interplay worked out to the smallest And now I have to make the probably detail and based on polyphonic structure; very surprising announcement a delicate balancing, from beginning to that my symphony is long and not end, of tonal relationships; – and a exactly amiable. formal design whose grandiose dimensions only become apparent when He need not have worried. Dessoff’s one experiences the whole movement first rendition was successful enough as a single, great continuum. to warrant repeat performances under the composer’s direction in Mannheim The perspective is significant because and Munich shortly thereafter. The First Wagner’s followers comprised a major Symphony cured Brahms’s orchestral portion of the listening public in the 1870s. writer’s block. For the next 11 years, his orchestral harvest was bountiful: One unusual feature of this very large three additional symphonies, three more symphony is the presence of two slow concerti, and two overtures. introductions, one for each of the outer movements. Slow introductions are rare Von Bülow had good reason to hail the in Brahms’s music in any case, and this symphony as “the Beethoven Tenth.” double occurrence is unique among his Because of its heroic stance and C-minor compositions. Both introductions signal tonality, the work is most often compared something portentous and monumental. with Beethoven’s Fifth Symphony. Both It is a measure of Brahms’s genius that pieces have a general progression from the effect is entirely different in the two: tragic struggle to triumph and victory. ushering in heroic conflict in the opening Brahms’s First bears equal comparison movement; introducing serene exaltation to the Beethoven Ninth (Beethoven’s in the conclusion. By contrast, the inner other minor mode symphony), primarily movements are both shorter and lighter in because of the obvious parallel in hymn- emotional weight. In the slow movement, like finales. Brahms indulges in some orchestral

WESTCHESTERPHIL.ORG | 914-682-3707 19 Program Notes - CONCERT I decoration, embroidering his already rich with one another, providing this noble music with a rare, breathtakingly lovely movement with some of his most beloved violin solo. Here and in the graceful original themes. Un poco allegretto we have a welcome emotional breather between the mighty Brahms scored his First Symphony for pillars of the outer movements. woodwinds in pairs, contrabassoon, four horns, two trumpets, three trombones, If there were any shortage of melodies timpani, and strings. early on, Brahms compensates with abundance in the expansive finale. From the magical horn call to the majestic Program notes by Laurie Shulman © 2018 closing chords, unforgettable tunes vie First North American Serial Rights Only

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Winter Pops!

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Winter Pops!

Sunday, December 16, 2018, at 3 pm

Rachael Worby, conducting Special guests: Time for Three

Popular standards, American Songbook gems, plus classical and holiday favorites.

WESTCHESTERPHIL.ORG | 914-682-3707 23 renown, a preëminent figure in American arts education, and an innovative force in reimagining traditional performance formats. A dedicated orchestra builder, she is credited with the remarkable growth of organizations under her leadership.

Worby rose to fame during her 17-year tenure as Music Director and Conductor of the Symphony Orchestra in Wheeling, West Virginia. Her previous posts also include that of Music Director and Conductor of the Young People’s Concerts at Carnegie Hall and Music Director and Conductor for the Pasadena POPS. She received a presidential appointment to the National Council of the Arts, on which she served for four years.

Distinguished as a visionary in the orchestral world, she is celebrated Rachael Worby, conductor internationally for her extraordinary talents and exuberant style, as well as her versatile command of all musical genres. She is in demand as a guest conductor and has orby is one of the led orchestras throughout Europe, South first highly successful America, Australia and Asia. female conductors of national and international

24 WESTCHESTER PHILHARMONIC | 2018–2019 SEASON an appearance on the ABC prime time hit show “Dancing with the Stars.” Tf3’s high-energy performances are free of conventional practices, drawing instead from the members’ differing musical backgrounds. The trio also performs its own arrangements of traditional repertoire and Ranaan Meyer provides original compositions to complement the trio’s offerings. In 2014 Time for Three released their debut Universal Music Classics album, Time for Three, which spent seven consecutive weeks in the Top 10 of Billboard Classical Crossover Chart. The ensemble has also embarked on a major commissioning programs to expand its unique repertoire for symphony orchestras including Concerto 4-3, written by Pulitzer- Prize winning composer Jennifer Higdon, Travels in Time for Three by Chris Brubeck in 2010, co-commissioned by the Boston Pops, the Youngstown Symphony, and eight Time For Three other orchestras, and Games and Challenges by William Bolcom, commissioned by the Indianapolis Symphony. Their latest project, a three-year residency with the Sun Valley Summer Symphony, includes commissions he groundbreaking, category- for three new works. Time for Three shattering trio Time for Three premiered the first of these works, Elevation: (Tf3) transcends traditional Paradise, in Sun Valley in August, 2015 classification, with elements of and the second, Free Souls, in July, 2016. classical, country western, gypsy and jazz idioms forming a blend all its own. On March 25, 2016 PBS premiered the The members — Nicolas (Nick) Kendall, Emmy-winning show “Time for Three in violin; Charles Yang violin; and Ranaan Concert” nationwide. “Time for Three in Meyer, double bass — carry a passion for Concert” is an hour-long program in improvisation, composing and arranging, collaboration with the Indianapolis Symphony all prime elements of the ensemble playing. Orchestra, Universal Music Classics and WFYI Public Media, that brings together To date, the group has performed hundreds diverse artists and unique arrangements to of engagements as diverse as its music: from create a one-of-a-kind concert experience. featured guest soloists on the Philadelphia Orchestra subscription series to Club Yoshi’s To date, the group has performed hundreds in San Francisco to residencies at the of engagements, from sell-out concerts at the Kennedy Center to Christoph Eschenbach’s 2014 BBC Proms, to Christoph Eschenbach’s birthday concert at the Schleswig-Holstein birthday concert to residencies at the Kennedy Festival in Germany. Recent highlights Center and g with Thers’, and an Emmy- included their Carnegie Hall debut, winning show “Time for Three in Concert” appearances with the Boston Pops, premiered by PBS. In 2016 Time for Three Melbourne Symphony Orchestra, a sell- traveled throughout Europe as a highlight out concert at the 2014 BBC Proms, and act of the NOTP (Night of The Proms) tour. CONCERT III

Sunday, February 10, 2019, at 3 pm The Phil’s Friends & Family Concert: “Lenny 101” Rachael Worby, conducting Special guest: Savion Glover

JED FEUER (B. 1948) Harambe (East Coast Premiere)

THELONIUS MONK (1917–1982) Misterioso ‘Round Midnight

MORTON GOULD (1913–1996) Tap Dance Concerto I. Toccata II. Pantomime III. Minuet IV. Rondo

Mr. Glover

Intermission

AARON COPLAND (1900–1990) Rodeo: Four Dance Episodes I. Buckaroo Holiday II. CorralNocturne III. Saturday Night Waltz IV. Hoe Down

26 WESTCHESTER PHILHARMONIC | 2018–2019 SEASON CONCERT III

ANTONIO VIVALDI (1678–1741) The Four Seasons [Le quattro stagioni], Op.8, Nos. 1-4

Spring (La primavera) I. Allegro II. Largo e pianissimo sempre III. Allegro pastorale

Summer (L’estate) I. Allegro non molto II. Adagio e piano - Presto e forte III. Presto

Autumn (L’autunno) I. Allegro II. Adagio molto III. Allegro

L’inverno (Winter) I. Allegro non molto (in F minor) II. Largo (in Ex major) III. Allegro (in F minor)

Mr. Glover

WESTCHESTERPHIL.ORG | 914-682-3707 27 Program Notes - CONCERT III

From the conductor: composers, earning a Pulitzer Prize in Today’s program celebrates the life and work music in 1995 — at the age of 82 — for of Leonard Bernstein, without playing a his String Music. single note composed by him, but rather through examining his influences – those Americana is a recurrent theme in Gould’s who influenced him and those he influenced. music (there’s even an orchestral piece This year marks the 101st anniversary of called Americana.) Works about this country, Bernstein’s birth, and in the spirit of today’s its culture, and its soul were at the heart of “Friends & Family” program and the his musical contributions. He acknowledged opportunity to learn something new, we’ve that the vernacular fired his imagination, dubbed this concert “Lenny 101.” Enjoy! particularly jazz, spirituals, and folk music.

Tap Dance Concerto Gould’s Tap Dance Concerto is sui generis: MORTON GOULD the only work of its kind in the literature. Born 10 December 1913 in New York City It did much to elevate tap dance as an art Died 21 February 1996 in Orlando, Florida form. Tap has roots in various types of ethnic percussion from both Africa and • Morton Gould was a “Jack of all Western Europe. In America, it is believed musical trades” to have evolved through minstrel shows in • He delighted in combining the 19th century. By the late 1930s, virtually American vernacular music with a every Broadway show or Hollywood film classical approach musical included a tap dance sequence. • His innovative approach celebrates Gould’s movement titles – Toccata, rhythm in all its complexity Pantomime, Minuet, and Rondo – relate the piece both to classical forms and to the Morton Gould was a populist. His best heritage of vaudeville. known composition is An American Salute, a free set of variations on “When Johnny A prefatory note in Gould’s score explains Come Marching Home.” Gould had his the idea of the Tap Dance Concerto: finger in a lot of pies. He was a conductor and pianist as well as a composer. During The concept of this work is in the classical the Depression years, his vaudeville talents concerto tradition, with the Tap Dancer as kept him going. Later, he collaborated soloist. Gould has utilized the tap dance on ballets with several of America’s most medium as an integrated rhythmic and distinguished choreographers: Jerome dynamic part of the orchestral texture. The Robbins, Eliot Feld, Agnes de Mille, and notated tap dance patterns may be elaborated George Balanchine. On Broadway, he upon by the individual tap dance soloist, developed Billion Dollar Baby (1945) with however, it is important to keep the basic Adolph Green and Betty Comden, who rhythmic designs so that the work has an were later Leonard Bernstein’s creative organized and formal consistency. The teammates for On the Town. soloist must also coordinate his individual choreography and body movement to fit Gould also wrote scores for film, radio, the musical moods and style. and television, and was an early success story in the developing genre of jingle writing. In a 1990 interview, Gould said, “For a long By the time of his death, he was one of the time people used to think of tap dancing most beloved and revered of all American as something frivolous and not particularly 28 WESTCHESTER PHILHARMONIC | 2018–2019 SEASON Program Notes - CONCERT III important. Now I think it has become obvious fathers’ principle that all men are created that it has become part of our language: a equal found expression in Fanfare for the component of our cultural heritage.” Common Man (1943). In praise of a great and inspiring president, Copland wrote He composed the Tap Dance Concerto Lincoln Portrait (1942). The pioneer spirit in 1952 for Danny Daniels, who did the surfaced in Appalachian Spring (1944). original choreography and performed the He immortalized the lore of the western premiere with Gould conducting. cowboy in Billy the Kid (1938) and Rodeo (1942). The score calls for two flutes (one doubling piccolo), two oboes, two clarinets, two Ballet Russe de Monte Carlo bassoons, four horns, two trumpets, two commissioned Rodeo on the heels of Billy trombones, timpani, solo tap dancer, the Kid ’s success; the impresario wanted and strings. to capitalize on the market for another “cowboy” ballet. Thanks to Copland’s exuberant score and Agnes de Mille’s lively Four Dance Episodes from Rodeo choreography, the production was a huge AARON COPLAND hit. Copland promptly excised its four big Born 14 November, 1900 in moments as a suite, so that Rodeo could be Brooklyn, New York programmed in the concert hall as well as Died 2 December, 1990 in on the ballet stage. North Tarrytown, New York Rodeo is the story of a tomboy/cowgirl • Aaron Copland had a flair for who tries to get her man by outdoing Americana and patriotic music the guys at their macho thing: lassoing • Rodeo traces the heroine’s broncos, pitching hay, toughing it out transformation from tomboy to on the ranch. She is bewildered when the belle of the ranch ranch hands, including the head wrangler • Syncopation, ragtime, and traditional and champion roper she’s after, are more American cowboy tunes populate interested in a group of pretty girls in this music frilly dresses than in her considerable — but unladylike — accomplishments. Aaron Copland was over 40 when the Japanese bombed Pearl Harbor in Each of the four episodes has its own December, 1941. Too old for military personality. Copland uses syncopations service, he contributed to the war effort and ragtime riffs in “Buckaroo Holiday” by writing patriotic music. In the broadest to establish the ballet’s flirtatious yet sense, he celebrated Americana, evoking wholesome atmosphere. Copland through music the small wonders that combines a simple descending C major helped the United States develop into the scale with two old American tunes, “If he’d great country it is. be a buckaroo on his trade” and “Sis Joe,” in a saucy pastiche that captures the flavor Although this may sound a tad hokey of the ranch. “Corral Nocturne” is the today, during the Second World War thinking woman’s movement. The heroine Copland’s music did a great deal to is hurt and confused by what she perceives boost morale. His approach was both as rejection. Copland’s nostalgic music well-placed and effective. The founding provides the backdrop to her thoughts WESTCHESTERPHIL.ORG | 914-682-3707 29 Program Notes - CONCERT III about resolving the romantic situation in • Vivaldi was ordained as a priest her favor. but spent most of his life as a professional musician “Saturday Night Waltz” opens with • The Four Seasons are part of a larger the sound of fiddles tuning, actually set of twelve concerti incorporating that pre-concert exercise • Each concerto has abundant into the score. Copland’s waltz is clever, references to the sounds of nature and merging European elegance with down- the outdoors home simplicity. The music is sentimental • Listen for strong contrasts of piano without being cloying, and somehow (quiet) and forte (loud) we know that our tale will have a happy • Other choreographers have set dance ending. The concluding episode, “Hoe to this work, notably Jerome Robbins/ Down,” is the most famous part of NYCBallet Rodeo: a lively square dance that uses two traditional dance tunes, “Bonyparte” and Vivaldi spent most of his career in the “McLeod's Reel.” capacity of musical director and violin teacher at a Venetian conservatory and Originally subtitled The Courting at Burnt orphanage for girls, the Seminario Musicale Ranch, the ballet Rodeo was first produced dell’Ospedale della pietà. During his at New York’s Metropolitan Opera House lifetime, he achieved more renown as a on 16 October, 1942. Copland extracted violinist than as a composer. His propensity the Four Dance Episodes shortly afterward. for the instrument is evidenced by the Arthur Fiedler and the Boston Pops first astonishing number of solo concerto he performed three of the Episodes on 28 wrote for it: more than 230 of his 500-odd May, 1943. The entire suite was premiered surviving concerti are for violin. by Alexander Smallens at the Stadium Concerts with the New York Philharmonic Each concerto is in the three movement, Symphony in July 1943. Copland’s score fast-slow-fast sequence that Vivaldi calls for 3 flutes (2nd and 3rd doubling standardized as concerto form. The orchestral piccolo), 2 oboes, English horn, 2 sections are almost exclusively ritornelli (a clarinets, bass clarinet, 2 bassoons, 4 horns, recurring musical idea for the full ensemble, 3 trumpets, 3 trombones, tuba, timpani, restated in various keys). Vivaldi takes his percussion (xylophone, glockenspiel, virtuosic flights in the solo passages, evoking suspended cymbal, bass drum, snare drum, the seasonal images of each poem. His wood block, slap stick, and triangle), imaginative writing in the solo sections is celesta, harp, piano, and strings. characterized by strong rhythmic vitality and highly idiomatic passage work. Nearly three centuries after they were composed, The Four Seasons [Le quattro stagioni], The Four Seasons still present a formidable Op.8, Nos. 1-4 challenge to the virtuoso violinist. ANTONIO VIVALDI Born 4 March, 1678 in Venice, Italy Died 27 or 28 July 1741 in Vienna, Austria Program Notes by Laurie Shulman © 2018 First North American Serial Rights Only

30 WESTCHESTER PHILHARMONIC | 2018–2019 SEASON renown, a preëminent figure in American arts education, and an innovative force in reimagining traditional performance formats. A dedicated orchestra builder, she is credited with the remarkable growth of organizations under her leadership.

Distinguished as a visionary in the orchestral world, she is celebrated Rachael Worby internationally for her extraordinary talents and exuberant style, as well as her versatile command of all musical genres. She is in demand as a guest conductor and has orby is one of the led orchestras throughout Europe, South first highly successful America, Australia and Asia. female conductors of national and international

WESTCHESTERPHIL.ORG | 914-682-3707 31 1984. He returned to Broadway in 1989, performing in the musical revue Black and Blue, and was nominated for a Tony Award. A role in the motion picture Ta p (1989) followed. Glover, who had long made a point of learning as much as he could from old tap masters, soon began teaching tap classes. He also developed his own tap style, which he christened “free-form hard core,” while working with dancers such as Gregory Hines, Henry Le Tang, and Sammy Davis, Jr. In 1990 Glover created his first choreography, for a festival at New York City’s Apollo Theater. Two years later he became the youngest ever recipient of a National Endowment for the Arts grant. He portrayed a young Jelly Roll Morton in the musical Jelly’s Last Jam, which debuted in Los Angeles in 1991 before opening on Broadway the following year and touring in 1994. In 1995 Savion Glover Bring in ’Da Noise, Bring in ’Da Funk opened Off-Broadway. Glover choreographed and starred in the musical, which featured a series of vignettes that chronicled African American history. A huge success, the show avion Glover is an American soon moved to Broadway, and in 1996 it dancer and choreographer won four Tony Awards, including a best who became known for his choreographer award for Glover. unique pounding style of tap dancing, called “hitting.” He brought His numerous other appearances included renewed interest in dance, particularly a regular role (1990–95) on the children’s among youths and minorities. television show Sesame Street. In 2000 Glover appeared in director Spike Lee’s As a young child, Glover displayed an affinity filmBamboozled and in 2001 made an for rhythms, and at age four he began taking appearance in Bojangles, a television biopic drumming lessons. Deemed too advanced of tap dancer Bill (“Bojangles”) Robinson for the class, however, he then enrolled at the starring Gregory Hines. He premiered Newark Community School of the Arts and “Classical Savion,” a production that soon became the youngest person in the featured him tapping to classical music, school’s history to receive a full scholarship. in New York City in 2005; the show later At age seven he began taking tap lessons and toured the United States. In 2006 Glover quickly developed a passion for rhythm tap, a choreographed the tap dances performed form that uses all parts of the foot to create by the penguin Mumble in the computer- sound. His talent attracted the attention of animated Happy Feet. That year he also a choreographer for the Broadway musical formed his own production company, The Tap Dance Kid, and Glover served as an which oversaw his HooFeRzCLuB understudy before taking the lead role in School for Tap and produced later shows, including “Sole Power” (2010). 32 WESTCHESTER PHILHARMONIC | 2018–2019 SEASON

34 WESTCHESTER PHILHARMONIC | 2018–2019 SEASON CONCERT IV

Sunday, April 7, 2019, at 3 pm All-Beethoven Season Finale Jaime Laredo, conducting Pamela Frank, violin

LUDWIG VAN BEETHOVEN (1770–1827) Concerto in D major for Violin and Orchestra, Op. 61 I. Allegro ma non troppo II. Larghetto III. Rondo. Allegro

Ms. Frank

Intermission

Symphony No. 5 in C minor, Op.67 I. Allegro con brio II. Andante con moto III. Scherzo. Allegro IV. Allegro

WESTCHESTERPHIL.ORG | 914-682-3707 35 Program Notes - CONCERT IV

Concerto in D major for Violin and led the violin section at the Vienna Opera. Orchestra, Op. 61 Clement is said to have sight-read the LUDWIG VAN BEETHOVEN piece at the premiere, because Beethoven Born 16 December, 1770 in Bonn Germany finished writing it only at the last minute. Died 26 March, 1827 in Vienna, Austria If that apocryphal story is true, it may account in part for the fact that this • Five majestic timpani strokes set the concerto took a long time to win friends, tone for the concerto so surprising in light of the staple it has • That rhythm recurs numerous times become on today’s concert programs. in the course of the first movement • The Larghetto steers a course that is A struggle to enter the canon both lyrical and noble After its premiere in 1806, the Violin • Beethoven’s writing at once Concerto received only one additional transparent and richly layered documented performance during Beethoven’s • The spirit of dance dominates the lifetime, and that in Berlin rather than buoyant finale Vienna, Beethoven’s adopted city. The nineteenth century favored flashy showpieces The Violin Concerto and the “Emperor” for its concerto soloists, and this one does Concerto: a comparison not focus on the violinist’s brilliant technique. If the Fifth Piano Concerto is Beethoven’s Beethoven did study repertoire by his “Emperor,” Op. 61 is its royal analogue contemporaries Giovanni Battista Viotti, among violin concertos: the king of them Rodolphe Kreutzer, and Jacques-Pierre Rode all. Like the “Emperor,” it dates from to become more conversant with the Beethoven’s middle period. The two works violin’s expressive and technical possibilities. are by any standard the pinnacle of his achievement during these richly productive But display for its own sake never overtakes years, and certainly his two finest concerti. the broader musical architecture of his Beyond that distinction, the Violin mighty work. Among Beethoven’s own Concerto holds a special place in the hearts compositions, the Violin Concerto’s closest of violinists, orchestral players, and music spiritual sibling is not the “Emperor,” but lovers. Yet how different in spirit it is from rather the Fourth Piano Concerto, Op.58, the “Emperor.” Instead of extroversion we with which it shares serenity, absolute have thoughtfulness; instead of display conviction in its own inherent balance, and inventive methods of exploring and a lack of need for overt display. virtuoso technique, Beethoven gives us subtle explorations of what the violin’s About the music E-string can deliver. In fact, one of the A timpani pattern of five gentle taps opens most astonishing aspects of this concerto the concerto and become its leitmotif. From is Beethoven’s instinctive understanding of this pattern springs the entire first movement: both soloist and orchestra, despite the fact its leisurely, unhurried pace, its emphasis that he was a keyboard player. on internal examination rather than external show, and of course the minimal motivic Forgotten virtuoso cells from which Beethoven develops his Beethoven wrote the concerto for Franz ideas so incomparably. These five beats are Clement (1780-1842), an Austrian a stable foil to the woodwind theme, marked violinist, conductor, and composer who dolce, that answers them and eventually

36 WESTCHESTER PHILHARMONIC | 2018–2019 SEASON Program Notes - CONCERT IV emerges as the principal melody of the Symphony No. 5 in C minor, Op.67 movement. The same five strokes, understated yet inexorable, firmly anchor theAllegro, ma • That famous opening motive is the non troppo in the tonic key of D; they are grist for the entire first movement – a welcome homing point in light of the and recurs in the third! disorienting and unexpected D-sharps • Beethoven counters the turbo-charged (significantly, repeating the same rhythm of opening with a poetic and refined the opening timpani strokes) that the first slow movement violins interject as early as the tenth measure. • Notice the importance of the cellos as a melody instrument, particularly in The first movement has a sense of the third movement expansiveness. Beethoven takes subtle • C major, the Viennese key of liberties with form; for example, he sunlight, brightens the finale: triumph reserves the cantabile second theme for the over adversity orchestra until the coda, when his soloist • This was the first symphony in which finally has the opportunity to express that Beethoven used piccolo, contrabassoon, lovely melody as a single violin line. and trombones, all in the finale

Intimate slow movement and foot- In his landmark study, The Classical Style, tapping finale Charles Rosen has observed that Beethoven’s Built on variation principles, the Larghetto Fifth Symphony, like Mozart’s D minor is sheer embroidery. It is lovingly scored: Piano Concerto, is almost as much myth as only muted strings and pairs of clarinets, work of art. “When listening to it,” he writes, bassoons, and horns accompany the soloist. “it is difficult at times to say whether we The mood is comfortable, intimate, friendly. are hearing the work or its reputation.” Beethoven’s geniality carries through to the Rondo finale, a foray into near-irresistible That reputation developed almost foot-tapping that wields its power even on immediately; it is not anything that those who have heard the music dozens of subsequent generations had to reassess and times. The double-stopped episodes are the discover. As early as 1810, the eminent only such occurrence in the concerto. Taking critic E.T.A. Hoffmann reviewed the Fifth unusual and beguiling advantage of the violin’s Symphony in the Allgemeine Musikalische upper register, the finale provides wonderful Zeitung, an important musical newspaper: opportunities for a soloist to display discerning taste and polished execution. This particular symphony, more than any other of his works, unfolds Beethoven’s For these performances, Ms. Frank has romantic spirit in a climax rising straight to chosen the cadenzas by Joseph Joachim. the end and carries the listener away irresistibly into the wondrous world of the infinite… The score calls for flute, pairs of oboes, The whole work storms past some people clarinets, bassoons, horns and trumpets, like an ingenious rhapsody; but the soul of timpani, solo violin and strings. every sensitive listener will surely be deeply and intimately seized right up to the final chord by an enduring feeling which is exactly that inexpressible prophetic longing…

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

It is conceived with genius, carried out years of remarkable productivity when with profound thoughtfulness, and Beethoven was producing a succession expresses in the highest degree the romantic of masterpieces. Ideas for a symphony spirit in music. in C-minor, however, have been traced to the “Eroica” sketchbook of 1803/4. Hoffmann’s review places a territorial Considering that E-flat major, the key claim on Beethoven as the embodiment of the “Eroica” symphony, is the relative of musical romanticism. The romantic major of C-minor, it is not all that idealism of his description is partly surprising that Beethoven generated ideas responsible for the idea of heroic struggle for both works at the same time. that has become associated with this legendary symphony. The French Connection Robert Schumann detected French influence Tradition has assigned to the Fifth in the music of the Fifth Symphony, Symphony the musical metaphor of artist particularly that of Etienne-Nicolas Méhul as hero. Pitted against an unsympathetic (1763-1817). Much French music at the society, he emerges triumphant after a turn of the century, especially opera, bore victory over internal strife. Hoffmann was the imprint of the revolution. France was one of the earliest critics to explore the in a state of political and social upheaval symphony’s remarkable programmatic for Beethoven’s entire creative life, and potential, but the composer himself the strong presence of a growing military planted the seeds for the ensuing harvest culture made its impact felt in the arts. of rhetoric. Beethoven’s amanuensis Anton Schindler reported that Beethoven: Wartime symbolism During the Second World War, BBC …pointed to the beginning of the first shortwave broadcasts were preceded by the movement and expressed in these words opening four notes of Beethoven’s Fifth. The the fundamental idea of his work: “Thus gesture was symbolic: dot-dot-dot-dash is Fate knocks at the door!” the Morse code for “V,” as in victory. At the opposite end of the spectrum, Peter Strengthening that idea is the tonality Schickele satirized the Fifth Symphony of C-minor, which has been called both in a mock sports broadcast from the the “key of fate” and the “heroic key” in University of Southern North Dakota Beethoven’s music. There is no question at Hoople. The “PDQ Bach on the Air” that certain tonalities carried deep recording is a surprisingly accessible — significance for Beethoven. Several other and hilariously funny — lesson in sonata works in C-minor share the terse drama form for the non-specialist. of the Fifth Symphony. The “Pathétique” Sonata, Op.13 (1798/99) and the Third Military elements Piano Concerto, Op.37 (1800) are early Obviously this work has “spoken” to examples. His “Coriolan” Overture, listeners in a variety of ways since its Op.62 (1807) is another C-minor work première, and, as Charles Rosen points out, contemporary with the Fifth Symphony. has transcended its own reputation into the realm of legend. From a musical standpoint, Both the Fifth and Sixth Symphonies were the overriding characteristic that unifies completed during the period 1807-1808, the Fifth Symphony is military flavor.

38 WESTCHESTER PHILHARMONIC | 2018–2019 SEASON Program Notes - CONCERT IV

March rhythms figure prominently, a whopping 54 measures to hammer home sometimes even when the music is in triple the final C-major cadence, just to make time, as in the C-major sections of the certain we get his message. More than slow movement. Beethoven’s emphasis on two centuries later, the rhetoric retains its the brass section underscores the martial power undiminished. quality of the symphony. So too does his expansion of the orchestra to include The Fifth Symphony was premiered at piccolo (redolent of military band flavor), the Theater-an-der-Wien on December contrabassoon, and trombones for the 22, 1808. It shared the program with the finale. His letter to his patron Count Franz Sixth Symphony and the Choral Fantasia, von Oppersdorff in March 1808 shows Op.80, both of which also received first that he wanted the bigger sound. performances. When it was published in April 1809, the score bore an unusual joint The last movement of the symphony has dedication to Beethoven’s patrons Prince three trombones and flautino — and not Lobkowitz and Count Rasoumovsky. three timpani, but will make more noise The symphony is scored for piccolo, pairs than six timpani, and better noise than that. of flutes, oboes, clarinets and bassoons, contrabassoon, 2 horns, 2 trumpets, 3 Only the beginning of the scherzo, with its trombones, timpani, and strings. spooky, menacing lower strings outlining the opening arpeggios, eludes the military overtones. Beethoven’s allusion to “better Program notes by Laurie Shulman © 2018 noise” makes one wonder whether there is First North American Serial rights Only an undertone of glee in his close. He takes

WESTCHESTERPHIL.ORG | 914-682-3707 39 Symphony, Academy of St. Martin in the Fields, the Berlin Philharmonic and the St. Petersburg Philharmonic. Pamela performed regularly with the Zurich Tonhalle Orchestra, recording the complete Mozart Violin Concertos with them and David Zinman and has also recorded a Schubert album and the Beethoven sonata cycle, both with her father Claude Frank. Pamela is a sought- after chamber musician and has performed at many international festivals including Aldeburgh, Verbier, Edinburgh, Salzburg, Tanglewood, Marlboro and Ravinia.

Aside from her devotion to works of the standard repertory, Pamela has performed and recorded a number of contemporary works. Her accomplishments were recognized in 1999 with the prestigious Avery Fisher Prize. Pamela is professor Pamela Frank of violin at the Curtis Institute of Music and teaches and coaches annually at the Tanglewood, Ravinia and Verbier Festivals. Since 2008 she has been the Artistic amela Frank has Director of the Evnin Rising Stars, a established an outstanding mentoring program for young artists at international reputation across Caramoor Center for the Arts. Her newest an unusually varied range of venture is the formation of Fit as a Fiddle performing activity. As a soloist she has Inc., a collaboration with physical therapist performed with leading orchestras including Howard Nelson in which they use both the New York Philharmonic, the Chicago their expertise for injury prevention and Symphony Orchestra, the San Francisco treatment of musicians.

40 WESTCHESTER PHILHARMONIC | 2018–2019 SEASON Chamber Music Wednesdays with the Westchester Phil at 12:10 pm November 14, 2018 January 16, 2019 March 13, 2019 May 8, 2019

These events are FREE. Grace Chu rch, 33 Church Street, White Plains, New York dtmusic.org

In partnership with

914.682.3707 | westchesterphil.org Programs, artists, dates and times subject to change. © 7102 retsehctseW ,cinomrahlihP .cnI

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MAIN STREET. PRESCHOOL. THE PLAYGROUND. The environment isn’t just some far off place. It’s the lawn under our feet, the food on our plate, and the air we breathe. To learn more, go to NRDC.org. And help protect the jungle creatures in your backyard.

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WESTCHESTERPHIL.ORG | 914-682-3707 41 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].

42 WESTCHESTER PHILHARMONIC | 2018–2019 SEASON Board of Directors & Administration

Westchester Philharmonic

OFFICERS ADMINISTRATION Jonathan Haas & Neil Balm, Millicent Kaufman, Chair Joshua Worby, Personnel Managers Mary Neumann, Vice Chair Executive & Artistic Director Burton Greenhouse, Bookkeeping Murray Stahl, Vice Chair Madeline Luke, Coordinator, Community Leszek Wojcik, Numa Rousseve, Treasurer Relations and Patron Services Recording Engineer Neil D. Aaron Kristen Butcher, Tony Aiello Librarian Christina Maurillo Hannah Shmerler Lisa A. Tibbitts Joshua Worby, ex-officio

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WESTCHESTERPHIL.ORG | 914-682-3707 43 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, 2017 and October 4, 2018. We thank all of our donors for gifts at any level. To make a contribution, call (914) 682-3707, or mail your gift using the envelope included in this program.

$50,000 and above $2,500–$4,999 Jeff & Frederique Zacharia Eugene and Emily Grant Janie & Tom Bezanson David & Madeleine Arnow Mr. and Mrs. Murray Stahl Barbara & Richard Dr. & Mrs. Gerald Greitzer Dannenberg Dorothy & Fred Haas $20,000–$49,999 Phyllis & Peter Honig Lee and Jacqueline Bellsey Starr ArtsWestchester Dr. Robert Fried & Mr. & Mrs. Raina Lindholm Donald Cecil Ms. Robin Bushman Rene & Kirsti Prochelle Westchester Community Mary D. Neumann Mr. & Mrs. Numa Rousseve Foundation Keith Kearney & Lisa Tibbitts Debby McLean Mr. & Mrs. John Werner $10,000–$19,999 Peckham Family Foundation Mr. & Mrs. William White Robert Arnow M&T Bank Cheryne & David McBride Hannah & Walter Shmerler Mr. & Mrs. Numa Rousseve Mr. & Mrs. Lawrence J. Nokes Mrs. Leona Kern Rory & Joshua Worby Mr. & Mrs. John Werner Marty & Millicent Kaufman Dr. Diana Worby $1,000–$2,499 $500–$999 David & Madeleine Arnow Jane Bridges & $5,000–$9,999 Mr. & Mrs. Warren Breakstone Robert Dennard Neil & Gayle Aaron Yvonne Tropp & Alan Epstein Vivian Milstein Mr. & Mrs. H. Rodgin Cohen The Marjorie Gilbert Rena Finkelstein Foundation Entergy Nuclear Irwin & Vivienne Levenson Mr. & Mrs. Bob Bischoff The Gilder Foundation IBM Matching Gifts Program Mr. & Mrs. Jeff Elliott Mrs. Joy Henshel Dr, & Mrs. Harold Keltz Juliet Gopoian Sylvia & Leonard Marx Faith Saunders Mr. Martin Grossman Esther Robbins Mrs. Ann Scheuer Marilyn & John Heimerdinger St. Vincent De Paul Linda & Paul Landesman Foundation Tom & Libby Hollahan Denise A. Rempe Lisa Tibbittss Phyllis & Peter Honig Joan & Robert Meyer Ruth B. Toff IBM Matching Gifts Program Mr. & Mrs. Robert S. Olsen Steve Ucko Mrs. Barbara Klauber Mr. & Mrs. Tony Aiello Mr. David E. Worby & Rudolph & Alix Laager Mr. Thomas Grace Dr. Melanie Grossman Cynthia Shmerler & Ford Levy Lowell Hershey

44 WESTCHESTER PHILHARMONIC | 2018–2019 SEASON Our Supporters

Marjorie Lee Ms. Andrea Ritchin Carol Goldberg Mary Ann & Peter S. Philip & Ellen Heidelberger Dr. & Mrs. Arnold J. Gordon Liebert, M.D. Shawn Amdur Joann Graham Jean & Henry Pollak Carl & Lynn Bloom Patricia A. Hammer Lucille Werlinich Mr. Richard Bobbe & Mr. Richard Indenbaum Ms. Jocelyn Schuman Andrew & Deborah Jagoda $250–$499 Dr. Ruth Greer Mr. David Kaufman Carole M. Boccumini Mr. & Mrs. George Hauss Ruth & Martin Kest Irving & Sharon Picard Elinor Koeppel Mrs. Rosemarie Lanza Elaine & Joshua Jay Kaufman Richard & Diane Lert Mark & Ann Lewis Mr. Todd Lao & Mrs. Iris Lo Carmen Neu Peggy G. Marx Ms.Harriet Leibowitz Mrs. Elaine Petschek Dr. Ben Romney Lenore & Robert Herbst Marianne and Arnold I. Rich Mr. & Mrs. Robert Samuels Marcella Kahn Joan & Mills Ripley Stan & Barbara Selbst Helmut and Barbara Norpoth Ms. Frances Rosenfeld Mr. & Mrs. William Spiro Daniel Politi & Cecily Gottling Dr. & Mrs. Bernard Annonymous Inge Tresser Schwartzberg Mr. & Mrs. Henri Van Dam Joel & Sandy Meyers Anton & Eileen Stenzler Mrs. Janet C. Crohn Dorothy J. Young Dale Todaro Mr. & Mrs. James J. Flood Ellen & Jonathan Litt Fred & Beth Weiler Ms. Madeleine MacIntyre Elihu & Minette Gorelik Bella Weissman Judy & Martin Cohen Elon & Patrice Schwartz Mr. Stanley Josephson Roslynne Reichgott Mr. Martin Rubenstein Ms. Therese M. Nagai $125–$249 Mr. & Mrs. Stephen Bear Mr. & Mrs. Myron Winson Mr. & Mrs. Robert Kearney Mr. Pedro Maymi Ms. Carol Baretz Mr. & Mrs Seth Jacobs Mr. Jaime Laredo & Jack Billig & Judy North Ms. Sharon Robinson Ms. Marie Lacerra Mr. Felipe Cabello & Marion Lau Susan & Larry Tolchin Ms. Lieselotte Hott Tony Russo & Andrea Kish Mr. & Mrs. Patrick Cahill Mr. Alan Stahl $75–$124 Mrs. Patricia Cote Lawrence Tsao Ms. Karen Ragins George & Theresa Edwards Mr. & Mrs. Julian L. Cohan Robert & Millie Rosenberg John & Karolyn Fava Miriam and Paul Douglas Mr. & Mrs. Anthony Mrs. Sally Kellock Bloomberg Ms. Valerie Dalwin Etra Mr. & Mrs. Thomas Locastro James Aucone & Louella Gottlieb Mrs. Jeanette Loring Joanne McGrath Rita Kaplan Jay Meltzer Mr. & Mrs. Richard Bemporad Donald & Margaret Mahaney Hiro Sakata Barbara Birshtein & Harold & Sandra Samuels Howard Steinman Richard & Ann Marie Schneeman Sara A. Sheperd Ronald Cohen David & Moira Tobey Professor Karen P. Smith Phyllis Cole Margot Elkin Lucille Smith Mr. Allan Colin Anne & Ronald Switzer Gloria Fields & Andy Seligson Ms. Barbara Wenglin Mr. & Mrs. Bruce Gavril Rita Wexler WESTCHESTERPHIL.ORG | 914-682-3707 45 Our Supporters In Tribute… Richard & Diane Lert in honor of Marty & Millicent Kaufman in memory of Neil & Gayle Aaron Eugene Grant Lynn Bloom in memory of Barbara & Dick Dannenberg in memory of Carl Bloom Paul Hershenson Mrs. Patricia Cote in honor of Marjorie Lee in honor of Caparelli & Cote families Millicent Kaufman Neil & Gayle Aaron in memory of Ruth B. Toff in honor of Richard Dannenberg Millicent Kaufman Mr. & Mrs. Richard Bemporad in memory of Lida Keltz in memory of Richard Dannenberg Harold Keltz Ronald Cohen in memory of Mrs. Jeanette Loring in memory of Richard Dannenberg Morton Loring Mrs. Joy Henshel in memory of Mr. Pedro Maymi in memory of Richard Dannenberg Rosalind Mariani Marty & Millicent Kaufman in memory of Mr. Richard Indenbaum in honor of Richard Dannenberg Dorothy & Howard Muson Mr. & Mrs. Lawrence J. Nokes in memory of Marianne & Armold I. Rich in memory of Richard Dannenberg Kenneth E. Rich Hannah & Walter Shmerler in memory of Dr. Ben Romney in memory of Richard Dannenberg Seymour & Shirley Romney Ruth B. Toff in memory of Ms. Angela Ranellone in memory of Richard Dannenberg Netti Smith Yvonne Tropp & Alan Epstein in memory of Marty & Millicent Kaufman in memory of Richard Dannenberg Edward Sperling Neil & Gayle Aaron in memory of Ms. Holly Cohen in honor of Paul Dunkel Russel Watsky Barbara & Dick Dannenberg in memory of JoAnn & Michael Stern in honor of Paul Dunkel Russel Watsky Hannah & Walter Shmerler in memory of Mr. & Mrs. Myron Winson in memory of Paul Dunkel Helene Winson Ruth B. Toff in memory of Rena Finkelstein in honor of Paul Dunkel Diana Worby Marty & Millicent Kaufman in memory of Irwin & Vivienne Levenson in memory of Teicei Fusco Louis Worby Elinor Koeppel in honor of Emily Grant

46 WESTCHESTER PHILHARMONIC | 2018–2019 SEASON Our Supporters

A hearty bravo to the following individuals and organizations for in-kind donations of items or services: Our Volunteers Martin Oppenheimer Serendipity Magazine Gayle Aaron Deborah Wong Today Media/ Susannah Anderson D. Paul Woodiel Ralph Martinelli Melissa Aleles WAG Magazine Madeline Luke Ardsley Musical Westchester Magazine Yama Oge Instrument Service WGCH Radio & Emily Politi Aries Fine Wines & Spirits Pamela Kuhn Roslynne Reichgott Captain Lawrence What To Do Numa Rousseve Brewing Company WHUD Radio Helios Tavio Doral Arrowwood WQXR Radio Stephen Ucko Fairway Market Thomas Vaughan Frank Soriano/ –––––––––––––––––––––– Andrea Worby House of Flowers Rory Worby Joseph Richard Florals Special thanks to New York Post photographers Matt Dine, New York Power Authority Susan Farley, Kenji Mori, Sandy Shertzer Royal Press & Louis Vaccaro.

WESTCHESTERPHIL.ORG | 914-682-3707 47 Our Thirty-sixth Season

Soprano Julia Bullock with the Phil in 2017.

ow in its 36th season, performed with the Phil include Joshua Bell, the Westchester Jeremy Denk, Branford Marsalis, Midori, Philharmonic is the Garrick Ohlsson, Itzhak Perlman, Nadja oldest, continuously Salerno-Sonnenberg, Gil Shaham, Isaac running professional symphony orchestra Stern, and André Watts. For four seasons and largest group of performing artists in the Philharmonic has been led by Principal Westchester County. The Philharmonic’s Conductors Jaime Laredo and Ted Sperling. main stage concert series makes its home at the 1,300 seat Concert Hall at the Among the many new works commissioned Purchase Performing Arts Center, with and premiered by the Westchester outdoor concerts, chamber concerts, Philharmonic is Melinda Wagner’s Concerto children’s programs, and special events for Flute, Strings and Percussion, which won throughout the area, attracting savvy the Pulitzer Prize in 1999. A new commission music-lovers from across the Hudson by Christopher Theofanidis, Dreamtime Valley, New York City, and beyond. Ancestors, made its NY-area debut in October 2015 and, in 2016, the Phil presented a Founded in 1983 as the New Orchestra of violin concerto by David Ludwig, composed Westchester under the leadership of Music for violinist Bella Hristova in celebration Director Paul Lustig Dunkel (who became of their recent marriage. Music Director Emeritus in 2008), the orchestra was later re-named the Westchester The Westchester Philharmonic has a rich Philharmonic. Renowned artists who have history of supporting artists of diverse

48 WESTCHESTER PHILHARMONIC | 2018–2019 SEASON About The Westchester Philharmonic

Executive and Artistic Director Joshua Worby leads Jaime Laredo leads Bella Hristova in the premiere of a pre-concert discussion with Principal Conductor David Ludwig’s Violin Concerto, written especially Jaime Laredo, violinist Bella Hristova and composer for Ms. Hristova on the occasion of her wedding to David Ludwig on the 2016 premiere of Ludwig’s the composer. Violin Concerto. backgrounds and is setting a new standard of area residents each year who might not for how mid-size regional symphony otherwise have an opportunity to attend. orchestras can have an impact on the face of classical music. Many of the composers The orchestra is comprised of the finest whose works have been commissioned or professional free-lance musicians from the premiered with the Philharmonic are greater metropolitan area, who also perform women, or are of diverse ethnic backgrounds. regularly with the New York City Ballet, In just the past ten seasons the Phil has Orchestra St. Luke’s, Orpheus, Mostly engaged 30 conductors or guest soloists of Mozart, and for many Broadway shows. African-American, Hispanic, and Asian Members of the Phil hold faculty positions backgrounds. Women conductors and at Juilliard, Mannes, Manhattan School of composers have appeared in seven of the Music, Purchase Conservatory, Vassar and last ten seasons. Bard Colleges, and at local public schools.

The orchestra’s award-winning education For thirty-five years the Westchester program reaches thousands of elementary Philharmonic has made the musical arts school students each year and culminates accessible to the community, providing the in a full orchestra concert. The Phil also highest quality educational programming partners with local organizations to present in the classroom; enhancing the quality free and low-cost chamber concerts, as of life in the region through innovative well as to provide subsidized seating at professional performances; and showcasing main stage concerts, welcoming hundreds the finest new artistry in the concert hall.

Summer music with the Phil in the picturesque Lasdon Park.

WESTCHESTERPHIL.ORG | 914-682-3707 49 About The Westchester Philharmonic

Students anticipate the Young People’s Concert, which is the culminating experience for the 1,300 children participating in the Phil’s annual classroom music education program.

Youngsters enjoy a pre-concert Instrument Petting Zoo with Phil musicians (and free concert tickets!) at the February Friends & Family Concert each season.

The Phil’s thriving student internship program Partnerships with organizations like the Greyston provides future arts leaders with an opportunity Child Care Center in Yonkers bring music to young to experience the inner workings of a symphony listeners, introducing them to the limitless world of orchestra. Interns have gone on to employment at music through regular interactive programs. Sony Music, the Buffalo Philharmonic and the Moab Music Festival, among others. 50 WESTCHESTER PHILHARMONIC | 2018–2019 SEASON General Information

General Info Important Contact Info The use of recording devices or photographs in Philharmonic Administrative Offices & The Concert Hall is strictly forbidden. General Info: 123 Main Street, 9th Floor, White Plains, New York 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 (914) 251-6200 the management. Smoking is not permitted in any area inside Performing Arts Center Lost & Found: The Performing Arts Center. Smoking is also (914) 251-6209 no longer permitted by the lobby doors in the underpass, or in the plaza areas around the Visit us at westchesterphil.org theater building. Emergency exits are indicated by red signs Like us on above the doorways. For your safety, please check the location of the exit nearest your seat. All programs, artists, dates, times and prices are subject to change. Follow us on

Unable to attend a concert? We welcome subscribers to exchange their tickets 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 on the day of the performance. You must call (914) 251-6200 48 hours in advance.

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Advertising Onstage Publications 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com 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 © 2018-19. All rights reserved. Printed in the U.S.A. Program Notes: Laurie Shulman

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