FRENCH CONNECTIONS with Avery Gagliano, piano
February 13, 2021 | 7:30 PM Welcome to OMP's Virtual Concert Hall!
Bonjour et bienvenue!
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We hope you enjoy this programme musical français featuring First Prize and Best Concerto Prize winner of the 2020 10th National Chopin Piano Competition Avery Gagliano!
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Give the gift of with OMP and Bose at oregonmomzaurstipclayers.org/tickets Orchestra Kelly Kuo, Artistic Director & Conductor
VIOLIN Jenny Estrin, acting concertmaster Yvonne Hsueh, principal 2nd violin Stephen Chong Della Davies Sponsored by Nancy & Brian Davies Julia Frantz Sponsored by James & Paula Salerno Nathan Lowman Claudia Miller Sponsored by Jeffrey Morey & Gail Harris Sophie Therrell Sponsored by W. Mark & Anne Dean Alwyn Wright* VIOLA Arnaud Ghillebaert principal viola Lauren Elledge Kimberly Uwate* CELLO Dale Bradley acting principal cello Sponsored by Larissa Ennis & Lindsay Braun Eric Alterman Noah Seitz BASS Nicholas Burton, principal bass
HARPSICHORD/PIANO Thank you to our additional musician sponsors: John Jantzi, Theodore W. & Laramie Palmer (Alice Blankenship, concertmaster) principal keyboard Peter & Josephine von Hippel (Jill Pauls, principal flute) Sponsored by Linda Korth Charles & Leslie Wright (Alexis Evers, flute) *Substitute musician Sandy Whitaker (Cheryl Wefler, principal oboe & Kris Klavik, oboe)
BOARD OF DIRECTORS ADMINISTRATION Larissa Ennis, President Kelly Kuo, Artistic Director & Conductor Clarissa Parker, Vice President & Secretary Daren Fuster, Executive Director Craig Starr, Treasurer Darlene Mueller, Office & Marketing Manager Sarah Brown, Orchestra Representative Daniel Cho, Assistant Conductor Milton Fernández Nathan Lowman, Librarian David Guy Julia Frantz, Personnel Manager Hatsue Sato Rubi Yan, OMP Intern Paul Shang Interested in board service? Email [email protected] for more information. Oregon Mozart Players | 317 Goodpasture Island Rd, Ste A, Eugene, OR 97401 | 541-345-6648 | oregonmozartplayers.org Kelly Kuo Artistic Director & Conductor
Praised by the Cincinnati Enquirer as “a leader of exceptional musical gifts, who has a clear technique on the podium and an impressive rapport with audiences,” Maestro Kelly Kuo brings a dynamic versatility and nuance to a diverse repertoire, which includes over 90 operas and an expansive symphonic repertoire as well. Recent operatic engagements include Lyric Opera of Chicago, Seattle Opera, Cincinnati Opera, Indianapolis Opera, Kentucky Opera, Anchorage Opera, and the Janiec Opera Company of the Brevard Music Center. In 2008, Maestro Kuo became the first conductor of Asian descent to lead a performance at the Lyric Opera of Chicago, making his company debut with Porgy and Bess. He has since returned to lead the Chicago premiere of Charlie Parker’s Yardbird and performances featuring artists of the Ryan Opera Center.
Upcoming engagements include company debuts with Carmen for Opera Orlando, Don Giovanni for Opera Columbus, and concerts with the Reno Chamber Orchestra and Sunriver Music Festival. Regarding Maestro Kuo’s conducting of Charlie Parker’s Yardbird for the Lyric Opera of Chicago and Seattle Opera, the Chicago Sun Times stated, “Conductor Kelly Kuo and his small but superb orchestra are a seamless match for the singers,” and Bachtrack wrote, “Debuting conductor Kelly Kuo skillfully handled the well- selected 24-piece ensemble in the enormously complex score.” Of his production of Macbeth at Anchorage Opera, the Anchorage Daily news noted, “Top honors should probably go to conductor Kelly Kuo. The sound… was full and taut as Kuo brought out the drama and lyricism. The orchestra played with robust enthusiasm and accuracy.” And of his La traviata for Kentucky Opera, critics stated, “Conductor Kelly Kuo led the Louisville Orchestra Friday with considerable verve, and no shortage of idiomatic delicacy…the sound was balanced and quite full.” Maestro Kuo also led critically praised new productions of Philip Glass’ Galileo Galilei for both Madison Opera and Cincinnati Opera and has served as Music Director and Conductor of the Butler Opera Center at The University of Texas at Austin and on the conducting staff of Santa Fe Opera. World premieres conducted by Maestro Kuo include chamber orchestrations for Jake Heggie’s At the Statue of Venus and Daniel Catán’s La hija de Rappaccini, in addition to the premiere of Daron Hagen’s A Woman in Morocco.
As Artistic Director of Oregon Mozart Players, Maestro Kuo recently extended his contract through 2024, having “transformed this chamber group into...a band of professional, enthusiastic, and superior musicians, playing confidently as one unit” (The Register Guard). Recent symphonic engagements have included concerts with Memphis Symphony Orchestra, Malta Philharmonic Orchestra, Indianapolis Chamber Orchestra, Lexington Philharmonic, and Ballet Fantastique. Maestro Kuo also curated and conducted the Cincinnati Chamber Orchestra’s inaugural Summermusik festival as Interim Music Director. Maestro Kuo has collaborated with such soloists as Cho-Liang Lin, Mark Kosower, David Shifrin, Mary Dunleavy, Bion Tsang, Anton Nel, Bella Hristova, Inbal Segev, and Elizabeth Rowe.
An Oregon native and recipient of a Solti Foundation U.S. Career Assistant Award for young conductors, Kuo continues to concertize as a keyboardist as the only pianist to have studied with two pupils of the Russian virtuoso Vladimir Horowitz. He is the resident pianist for the Zenith Chamber Music Festival and regularly performs recitals with the Kasarah Trio. Maestro Kuo holds a master’s degree in piano performance from the Manhattan School of Music and is an alumnus of the Houston Grand Opera Studio. T H I S E V E N T is sponsored by
CONCERT SPONSORS EDWIN E. & JUNE E. CONE FUND OF THE OREGON COMMUNITY FOUNDATION
SOLOIST SPONSORS DONALD & LINDA HIRST COLUMBIA BANK F R E N C H C O N N E C T I O N S with Avery Gagliano, piano
Saturday, February 13, 2021 7:30 PM | Central Presbyterian Church
Kelly Kuo, conductor Avery Gagliano, piano
Concert VI from Nouvelles suites de pièces de Jean-Philippe Rameau clavecin (1683-1764)
La Poule 1er Menuet | 2e Menuet L'Enharmonique L'Egyptienne
Variations on a Theme by Girolamo Alexandre Tansman Frescobaldi (1897-1986)
Piano Concerto No. 14 in E-flat Major, Wolfgang Amadeus Mozart K. 449 (1756-1791)
Allegro vivace Andantino Allegro ma non troppo
Avery Gagliano, piano Soloist Biography Avery Gagliano, piano
Avery Gagliano, First Prize and Best Concerto Prize winner of the 2020 10th National Chopin Piano Competition, is a young artist who captures audiences with her sensitivity, emotional depth, and musical expression. Her success has taken her to stages and concert venues such as the Verbier Festival Academy, Ravinia Festival, Aspen Music Festival, Louis Vuitton Foundation in Paris, Jay Pritzker Pavilion at Chicago’s Millennium Park, WQXR Greene Space, WRTI Performance Studio, and the GRAMMY Salute to Classical Music at Carnegie Hall. This coming season, she will make her recital debut at Carnegie Hall’s Weill Recital Hall.
As a soloist, Avery has collaborated with several symphonies in the United States including the Aspen Philharmonic Orchestra, Tuscarawas Philharmonic, MostArts Festival Orchestra, and Capital City Symphony. She is an avid chamber musician, and will return as a guest artist with the Jupiter Symphony Chamber Players in 2021. Avery is an alumna of the 2019 Verbier Festival & Academy and the Lang Lang International Music Foundation. She received the Audience Prize at the 2019 Cliburn International Junior Piano Competition, and was also the first-prize winner of the Aspen Music Festival Concerto Competition and the MostArts Festival Piano Competition.
Avery began playing the piano at age five and made her recital and orchestral debuts at age nine. She is originally from Washington, D.C., where she studied with Marina Aleksyeva. Avery currently resides in Philadelphia and studies at the Curtis Institute of Music under the tutelage of Gary Graffman and Robert McDonald; she has also studied with Jonathan Biss while at Curtis. Program Notes
Jean-Philippe Rameau (1683-1764) Concert VI from Nouvelles suites de pièces de clavecin (1726/27) Program Notes by Gavin Borchert o many composers seem to have made a vow, as if following some unspoken S but unbreakable rule, to devote their creative energies to chamber music or opera but never both. Corelli, Bach, Mendelssohn, Schumann, Brahms, Grieg, and Elgar chose the first path, Berlioz, Rossini, Verdi, Wagner, Bizet, Rimsky-Korsakov, Puccini, and Strauss the second; none of these composers contributed extensively, if at all, to both genres. To this latter category belongs Rameau, who made his name as a music theorist and only dabbled in composition until age 50, when he caught the opera bug and composed over two dozen in his remaining years. Grand spectacles in the French baroque tradition, they include a great deal of dance, and their equal emphasis on instrumental as well as vocal expressivity turned him into the 18th century’s most imaginative and experimental orchestrator.
But the examples of chamber music by Rameau you are most likely to hear today aren’t even by him. They are arrangements of his harpsichord music—a set of six short suites. Five were adapted from Rameau’s 1741 Pièces de clavecin en Concert (harpsichord solos with optional violin and viola da gamba parts); the sixth, which you’re hearing today, was drawn from a earlier collection for harpsichord alone. These arrangements, for three violins, viola, and two cellos, were most likely made shortly after the Rameau’s death by Jacques-Joseph-Marie Decroix, a devotee who collected many of the composer’s manuscripts—though why he made the arrangements remains mysterious.
Also mysterious are the nicknames Rameau gave to many of his harpischord works. The obsessive pecking on one note of “La poule” is easy enough to hear (Haydn’s Symphony no. 83 and Saint-Saens’ Carnival of the Animals use the same technique for their hen-evoking movements), but your guess is as good as anyone’s as to what Rameau thought was savage about “Les sauvages” or Egyptian about “L’egyptienne.” The movement titled “L’enharmonique” does provide some harmonic poignance, but no more than most any other minor-key work of the era. Program Notes
Alexandre Tansman (1897-1986) Variations on a Theme by Girolamo Frescobaldi (1937/42) Program Notes by Gavin Borchert ike Chopin, Tansman was born and raised in Poland but moved to Paris to L launch his career; like Schoenberg, Stravinsky, Rachmaninoff, Bartok, and so many others—and for the same reason—he fled Europe for America (specifically Los Angeles) in the late 1930s. His music combines an interest in Polish folk dances (also like Chopin) with the savory harmonic language of Debussy or Ravel and a typically French flair for colorful orchestration.
He was also a pioneer of neoclassicism—an approach in the first decades of the 20th century that combined these more modern developments with an elegance and formal clarity inspired by the music of the 18th century and earlier. The work you’ll hear today looks back even farther, to Girolamo Frescobaldi (1583-1643), who worked in the transitional period between the late renaisssance and early baroque, and was a pathbreaker in keyboard music rather like his contemporary Claudio Monteverdi was in opera. Frescobaldi, in fact, is credited with writing the first theme-and-variations piece based on an original theme (as opposed to a folk tune or one borrowed from another composer), his Aria detta la Frescobalda for keyboard from 1627, and this is the melody Tansman chose to develop even further. His variations do more than just reuse Frescobaldi’s tune, they absorb the older composer’s sound world thoroughly, evoking the courts and churches in which Frescobaldi moved. (Widely famed and admired in his lifetime, Frescobaldi served for three decades as organist for St. Peter’s Basilica in the Vatican, naturally the summit of prestige for a Catholic composer.) The first version of the Variations was composed for small orchestra and premiered by the St. Louis Symphony in 1937; Tansman revised the piece for strings alone in 1942, and this version is more commonly heard today.
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Wolfgang Amadeus Mozart (1756-1791) Piano Concerto No. 14 in E-flat Major, K. 449 (1784) Program Notes by Gavin Borchert
ll his life Mozart exhibited a near-schizophrenic combination of pragmaticism A and impracticality. On one hand, we have a spendthrift who could never manage money and who was temperamentally unsuited ever to commit to a steady Kapellmeister post; on the other, a musician deeply astute at reading public taste, always on the alert for opportunities to convert composition into income. Vienna, where Mozart spent his adult life, was an opera-loving city; despite the fickleness of fashion, theatrical success was the surest musical route to wealth. Yet at the start of 1784 Mozart did not hesitate to abandon two planned stage projects, L’oca del Cairo and Lo sposo deluso, and turn his attention to the piano concerto when he got the chance to give a series of public concerts, which demanded a regular supply of new pieces. (Even the most ardent Mozartphiles feel little remorse at the loss to the world of The Goose of Cairo and The Deluded Bridegroom.) He explained this shift of focus to his father in a letter from February 1784: “I am currently engaged in some compositions that will bring me money now,—not later.” (Amusingly, he hyper-rationalizes his decision to his father even further, going on and on about how L’oca del Cairo truly would be so much better if the librettist had more time to work on it, really it would, and you wouldn’t want me to waste my music on an inferior libretto, would you, and what’s the rush anyway?)
Mozart took advantage of his popularity as a pianist for three consecutive Viennese concert seasons: spring 1784, winter/spring 1784-85, and winter/spring 1785-86. Most of the concertos of this period were intended for himself to play, but two of them, this one and no. 17, he wrote to showcase his student Barbara Ployer. (Mozart, himself, though, played the premiere on March 17 and Ployer repeated it a week later.) Not until October 1785 did he return to opera composition, launching The Marriage of Figaro. Even for a composer as prolific as Mozart, his output of 11 piano concertos, in three batches, in just over two years is startling:
Concerto no. 14, completed Feb. 9, 1784 no. 15: March 15, 1784 no. 16: March 22, 1784 no. 20: Feb. 10, 1785 no. 17: April 10, 1784 no. 21: March 9, 1785 no. 18: Sept. 30, 1784 no. 22: Dec. 16, 1785 no. 19: Dec. 11, 1784 no. 23: March 2, 1786 no. 24: March 24, 1786 Program Notes
(By contrast, he wrote no symphonies during this time.) In addition to all this desk- work, of course the performances themselves (and rehearsals, if there were any) took up his time—not only these subscription concerts, but performances in private homes. That 1784 letter to his father lists 22 performing engagements in his datebook between February 26 and April 3. “I don’t think I can get out of practice this way,” he adds dryly. Furthermore, the mornings were reserved for teaching lessons. The workaholic Mozart was determined to make his mark in the musical capital of Europe.
It’s easy enough to find parallels between Mozart’s piano concertos and his operas, and many commentators have—his knack for eloquent gesture and atmospheric color (especially in his writing for wind instruments); his “stage management” of the piano solo’s entrances and exits for maximum impact; the pathos and aria-like melodies in his concertos’ slow movements and the catchy tunes that open their finales, which often sound like they were lifted straight out of his comic operas. Part of the reason is simply that Mozart was a born man of the theater, and his approach to stage composition couldn’t help but spill out to some extent into all his works, from string quartets to minuets to Masses. In the case of these 11 concertos, though, it might not be over-psychoanalyzing to conjecture that his finance-driven sabbatical from opera in 1784-85 led him to treat them, in a way, as substitute operas—an outlet for his flair for drama.
The Concerto no. 14, which kicks off the series, offers an uncommonly luscious and romantic slow movement, thanks largely to unusually active second violin and viola parts, enriching the texture. More often we find this level of harmonic depth and subtlety only in his minor-key movements, but for this one, in B flat major, he took pains to impress his new Viennese listeners with unprecedented expressivity. The particularly folklike finale theme seems to look ahead to the character of Papageno in The Magic Flute. What we do not yet find here, compared to many of Mozart’s later concertos, is independent, elaborate wind parts, full of color and character; Mozart here included only two oboes and two horns, and even suggested that these could be omitted, using only a string orchestra to accompany the piano. (In fact, Mozart had specified that his three preceding piano concertos, nos. 11-13, could be pared down even further and played as chamber music—as piano quintets, with just the solo piano and one player for each string part—and he may also have contrived his Concerto no. 14 with this possibility in mind, his practical side resurfacing.) Sponsors/Contributors As of February 13, 2021 at 12:00 PM PST
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