Aaron Copland (1900-1990) the Oregon Symphony Julie Coleman Stephen Price Symphony No
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SPIRIT OF THE AMERICAN RANGE The Oregon Symphony Carlos Kalmar Walter Piston (1894-1976) Aaron Copland (1900-1990) The Oregon Symphony Julie Coleman Stephen Price Symphony No. 3 Carlos Kalmar, Jean Vollum Music Dolores D’Aigle Martha Warrington Flute 1 Suite from The Incredible Flutist 17. 12 Director Chair Eileen Deiss Kenneth Freed^ Jessica Sindell, Bruce & Judy Thesenga Introduction 3 Molto Moderato, with simple expression 9. 55 Lisbeth Dreier* Jin Ningning^ Principal Flute Chair Siesta Hours in the Marketplace and Entrance of the Vendors 4 Allegro molto 7.55 Jonathan Dubay Alicia DiDonato Paulsen, Assistant Dance of the Vendors 5 Andantino quasi allegretto 10.13 Violin Gregory Ewer Cello Principal Entrance of the Customers, Tango of the Four Daughters, 6 Molto deliberato (Fanfare) – Allegro risoluto 12.55 Sarah Kwak, Janet & Richard Geary Daniel Ge Feng Nancy Ives, Mr. & Mrs. Edmund Hayes, Zachariah Galatis Arrival of Circus and Circus March Concertmaster Chair Lynne Finch Jr. Principal Cello Chair Molly Barth^ Solo of the Flutist Total playing time: 65.21 Peter Frajola, Del M. Smith and Kathryn Gray Marilyn de Oliveira, Assistant Principal Sarah Tiedemann^ Minuet: Dance of the Widow and Merchant Maria Stanley Smith Associate Shin-young Kwon Kenneth Finch Spanish Waltz Concertmaster Chair Ryan Lee Trevor Fitzpatrick Piccolo Eight O’Clock Strikes This album has been recorded live in the Arlene Schnitzer Concert Hall, Portland Erin Furbee, Harold & Jane Pollin Vali Phillips Gayle Budd O’Grady Zachariah Galatis Siciliano: Dance of the Flutist and the Merchant’s Daughter Oregon in April 2013 and January 2014. Assistant Concertmaster Chair Deborah Singer Timothy Scott Polka Chien Tan, Truman Collins, Sr. Principal Raffaela Wahby* David Socolofsky Oboe Finale Second Violin Chair Heather Blackburn^ Martin Hébert, Harold J. Schnitzer Inés Voglar Belgique, Assistant Viola Principal Oboe Chair Principal Second Violin Joël Belgique, Maybelle Clark Bass Karen Wagner, Assistant Principal Fumino Ando Macdonald Fund Principal Viola Chair Frank Diliberto, Principal Kyle Mustain Keiko Araki Charles Noble, Assistant Principal Edward Botsford, Assistant Principal** George Antheil (1900-1959) Clarisse Atcherson Jennifer Arnold Jeffrey Johnson English horn Ron Blessinger Silu Fei Kate Munagian* Kyle Mustain 2 A Jazz Symphony 7.07 Lily Burton* Leah Ilem Jason Schooler Ruby Chen Brian Quincey Brian Johnson Emily Cole Viorel Russo David Parmeter^ English Clarinet Trumpet Percussion George Antheil Carnegie Hall debut, is a crazy-quilt Walter Piston Two years later, Piston arranged an Yoshinori Nakao, Principal Jeffrey Work, Principal Niel DePonte, Principal pastiche of Tin Pan Alley, Afro-Cuban orchestral suite of the ballet’s music, Todd Kuhns, Assistant Principal David Bamonte, Assistant Principal, Sergio Carreno (1900-1959) jazz, evocative solos (for piano, (1894-1976) which has been recorded more than Mark Dubac Musicians of the Oregon Symphony Michael Roberts trumpet and clarinet, in particular) any other of Piston’s works. The suite Carol Robe^ Richard Thornburg Trumpet Chair Brian Gardiner^ A Jazz Symphony and dissonant chord clusters. Suite from The retains the ballet’s narrative arc; Micah Wilkinson Gordon Rencher^ Rhythmically, A Jazz Symphony its concise 11 movements portray Bass clarinet Charles Butler^ Chris Whyte^ (1955 version) features rapid-fire changes in time Incredible Flutist a sleepy village, the people milling Todd Kuhns Steve Conrow^ signatures, abrupt tempo shifts and about its busy outdoor marketplace, Harp an ever-present snare drum, which and the arrival of a boisterous Bassoon Trombone Jennifer Craig, Principal George Antheil, the self-described drives the music relentlessly forward. In 1938, conductor Arthur Fiedler circus, whose star is The Incredible Carin Miller Packwood, Principal Aaron LaVere, Principal Jenny Lindner^ “bad boy of music,” made a splash asked Walter Piston to collaborate Flutist. The Flutist, a Pied Piperesque Evan Kuhlmann, Assistant Principal** Robert Taylor, Assistant Principal wherever he went. Before his better- Although the audience at the on a ballet for the Boston Symphony, character, seduces snakes, snake Adam Trussell Charles Reneau Keyboard known contemporaries George premiere gave A Jazz Symphony with choreographer Hans Wiener charmers and a merchant’s daughter Yoko Greeney^ Gershwin and Darius Milhaud an ovation, it was completely (better known as Jan Veen, the name with his irresistibly sensual flute. Contrabassoon Bass trombone Carol Rich^ followed suit, Antheil incorporated overshadowed by Antheil’s avant- Wiener took in 1942 to protest Hitler’s Evan Kuhlmann Charles Reneau the sounds and styles of jazz into garde Ballet Mécanique, which annexation of his home country, When Wiener’s dancers first heard Steve Vacchi^ classical music as early as 1922 with almost triggered a riot during the Austria). Piston, eager to work with the orchestra play the Circus March, Tuba his first symphony “Zingaresca.” concert (or a succès de scandale, both men, told Wiener afterwards, they began cheering with delight. Horn JáTtik Clark, Principal That year, Antheil announced that depending on your point of view). “Your approach to the Modern Dance Dismayed, Fiedler said to Piston, John Cox, Principal jazz was “one of the greatest artistic gives such stimulating possibilities “What am I going to do? I can’t stop Joseph Berger, Associate Principal Timpani landmarks of modern art.” that it has been a great pleasure to them.” Piston replied, “Don’t stop Graham Kingsbury, Assistant Principal Jonathan Greeney, Principal ** Principal on Copland collaborate with you in writing ‘The ’em. This is going to be the best part Mary Grant * Acting musician Antheil’s A Jazz Symphony, which Incredible Flutist.’” of the ballet.” Piston subsequently Alicia Waite ^ Guest musician premiered at the composer’s 1927 immortalized the spontaneous Photography by Jim Fullan outbursts in the score with this Aaron Copland “I knew exactly the kind of music he and oboes; and a third, muscular melody that binds the rest of the explanation of the title in the Carlos Kalmar earning two Grammy nominations instruction: “Members of the [Koussevitzky] enjoyed conducting statement for the brasses. All movement together with, as Copland program notes: “It was the common (Best Orchestral Performance and orchestra who are not playing during (1900-1990) and the sentiments he brought to the themes of the subsequent explains, “quiet singing nostalgia, man, after all, who was doing all the Carlos Kalmar was appointed Music Best Engineered). Under Kalmar’s the Circus March will make sounds it,” said Copland, “and I knew the movements evolve from the first then faster and heavier – almost dirty work in the war and the army. Director of the Oregon Symphony guidance the orchestra recorded a as of a crowd hailing the arrival of Symphony No. 3 sound of his orchestra, so I had every (string) and third (brass) melodies in dance-like; then more childlike and He deserved a fanfare.” beginning in 2003. He is also chief second CD on the PENTATONE label the circus parade.” A dog (originally reason to do my darndest to write a this movement. naïve, and finally more vigorous and conductor and artistic director of the - “This England, ” featuring works by “played” by the Boston Symphony’s In 1922, composition teacher Nadia symphony in the grand manner.” forthright.” As the third movement’s The Fanfare worked perfectly as the Spanish Radio/Television Orchestra Britten, Vaughan Williams, and Elgar. contrabassoonist) barks at the Boulanger introduced conductor A forceful tympanic boom signals the various themes weave and coalesce, heroic finale Copland wanted to and Choir in Madrid, and artistic circus performers. Other movements Serge Koussevitzky to one of her Although Copland denied any beginning of the Allegro molto, which they produce a half-conscious sense represent the Allied victory in WWII. director and principal conductor A regular guest conductor with major feature dances, including the languid young American students. From ideological basis for the Symphony, Copland termed “the usual scherzo, of déjà vu – have we heard this The flutes and clarinets introduce of the Grant Park Music Festival in orchestras in America, Europe and Tango of the Merchant’s Daughters. that moment, Koussevitzky and one cannot help hearing this music with first part, trio and return.” The before? The third movement dissolves the basic theme, before the brasses Chicago. Asia, Kalmar made his subscription Eventually the whole village, Aaron Copland forged a reciprocal as the victorious cheer of a country spacious optimism of the primary into the finale with woodwinds and percussion burst forth with the series debuts with three of America’s enthralled by the Flutist’s magic, collaboration that lasted until emerging from a devastating war. At theme, a series of ascending notes repeating a theme present in the version most familiar to audiences. In May, 2011 he made his New most prestigious orchestras: executes a delicate minuet, a hearty Koussevitzky’s death in 1951. the premiere, Copland acknowledged in the brasses, coupled with the preceding movements. This melody York debut at Carnegie Hall with those of Boston, Chicago and San Spanish waltz, a tranquil Siciliana Koussevitzky championed Copland’s as much, noting the Third Symphony dynamic rhythms and overall vitality shifts slightly, morphing into Fanfare Koussevitzky stated categorically the Oregon Symphony as part of Francisco.