Tuesday Evening, March 26, 2019, at 7:30

Fabio Luisi , Conductor Performance #116: Season 4, Concert 22

EDVARD GRIEG (1843–1907) Piano Concerto, Op. 16 (1868–69, rev. 1906–07) Allegro molto moderato Adagio Allegro moderato molto e marcato—Quasi Presto—Andante maestoso ALESSANDRO TAVERNA, Piano

Intermission

JOHANNES BRAHMS (1833–97) Symphony No. 2, Op. 73 (1877) Allegro non troppo Adagio non troppo Allegretto grazioso (Quasi Andantino)—Presto ma non assai Allegro con spirito

Tonight’s concert will run approximately one hour and 50 minutes including one 20-minute intermission.

Jazz at Lincoln Center’s Please make certain your cellular phone, Rose Theater pager, or watch alarm is switched off. Frederick P. Rose Hall jazz.org Jazz at Lincoln Center

Notes on the Music – TON’s Lucas work’s earliest proponents was Franz Liszt, Goodman on Grieg’s whom Grieg was able to meet in Rome in Piano Concerto, 1870. The older Liszt sight-read the con - Op. 16 certo and offered several suggestions that E N I Grieg would take under strong considera - D

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A A National Style tion. Liszt offered Grieg strong words of M Over the course of his - encouragement, telling him to “keep on, I tory, few composers have come to be rec - tell you, you have what is needed, and ognized as inventors of the national musi - don’t let them frighten you.” Grieg revised cal style of their homeland. A list of such the concerto many times during his life, composers would have to include Jean with the final version, which will be per - Sibelius of Finland, Aaron Copland of the formed today, being completed shortly United States, Nikolai Rimsky-Korsakov before the composer’s death in 1907. and the Mighty Five of Russia, and Bed ˇrich Smetana of Czechoslovakia. Edvard Grieg An Early Impression played a similar role in the creation and While I don’t remember exactly how old I popularization of a Norwegian style of was, I remember seeing the great André music. Through his imitation of Norwegian Watts perform Grieg’s Piano Concerto at folk songs, and use of the hallingdans—a home in Florida when I was in middle lively and acrobatic Norwegian folk dance school or early high school. This was my in 2/4 time—during the theme of the final introduction to the Piano Concerto, and it movement, the Piano Concerto in A minor definitely left a lasting impression on my is one of the works that helped Grieg to young self. To this day it is one of my construct his national Norwegian style, absolute favorite pieces of music. I have along with his later arrangements of never had the pleasure of performing in Norwegian dances and songs, and inciden - this piece until today, so I am very excited tal music to Norwegian plays, such as the to share this experience with you, and popular Peer Gynt suite. hope you enjoy Grieg’s Piano Concerto in A minor as much as I do! An Immediate Success The Piano Concerto was composed in – 1868, while a 24-year-old Grieg was spend - TON’s Dillon Robb ing time in Denmark with his wife and on Brahms’ newborn daughter. It received its premiere Symphony No. 2, in Copenhagen on April 3, 1869, by pianist Op. 73 E N Edmund Neupert. It was an immediate I D

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success and its popularity has continued to T In the Shadow of A the present day, with the concerto even M Beethoven making its way into the realm of popular After Beethoven, how could any composer culture with its use in film scores and pop - write a symphony that contributed any ular music. Wilhelm Backhaus recorded meaning to the German music world? Grieg’s Piano Concerto in 1909, making it Everything is encapsulated in Beethoven’s the first piano concerto to ever be recorded. symphonies; this genre had been exhausted. It is instantly recognizable through its Many Romantic composers did expand the opening A-minor chord and descending tradition by including programmatic ele - half-step, falling-third motif. Among the ments, for example Liszt’s Les préludes , Jazz at Lincoln Center

Berlioz’s Symphonie fantastique , and nation may be proud, an inexhaustible foun - Wagner even began to completely absorb tai n of sincere pleasure and fruitful study.” the symphony as an art form into opera. The second symphony certainly answered However, Brahms is a Classical composer Hanslick’s request for warmth a nd sun - with Romantic sensibilities, and especially shine, but it is still deeply engrained with after Robert Schumann proclaimed him compositional rigor with its thematic and the messiah of modern music, he remained rhythmic ingenuity. The second symphony steadfast in writing music that stands on was another wild success, and remains to its own and speaks for itself. this day extremely popular, modestly pro - claiming itself a German masterwork. Warmth and Sunshine With a ridiculous amount of pressure An Invigorating Maestro weighing on him, Brahms took two decades What an honor it is for us to perform this to write his first symphony, and after its piece today with Fabio Luisi, who is espe - wildly successful premiere in November cially known for his ability to balance the 1876, he managed to formulate this sec - joyful and melancholic changing moods of ond symphony during only the summer of this symphony. I performed this piece with 1877. Music critic Eduard Hanslick said of him in the summer of 2015 at the Castleton Brahms’ First Symphony: “We would often Festival in Virginia, and I still recall how give the finest contrapuntal device (and invigorating the experience was—Luisi’s they lie bedded away in the symphony by enthusiasm and sensitivity was conta - the dozen) for a moment of warm, heart- gious! He will be opening the Danish quickening sunshine…. The new symphony National Symphony Orchestra’s next sea - of Brahms is a possession of which the son with this work as well.

Meet the Artists as chief conductor of the Vienna Symphony Orchestra, general music director of the Staatskapelle Dresden and the Saxon I S I

U State Opera, music director and principal L

A

R conductor of the MDR Symphony Orchestra A

B Fabio Luisi , R Leipzig, and music director of the A

B Conductor Orchestre de la Suisse Romande and the Fabio Luisi is general music director of the Tonkünstler Orchestra in Vienna. Zurich Opera, chief conductor of the Danish National Symphony Orchestra, and Mr. Luisi is also music director of the music director designate of Maggio Festival della Valle d’Itria in Martina Franca Musicale Fiorentino. He was recently (Apulia, Italy), and he is guest conductor of named the new music director of the several major ensembles, including the Dallas Symphony Orchestra, and begins Philadelphia Orchestra, Cleveland Orchestra, his tenure as music director designate in San Francisco Symphony, NHK Tokyo, the 2019–20 season, becoming the Munich Philharmonic, Filarmonica della orchestra’s full-time music director in the Scala, London Symphony Orchestra, Con - 2020–21 season. He was principal conduc - cert gebouw Orchestra Amsterdam, Saito tor at the Metropolitan Opera in New York Kinen Orchestra, and in all major opera from 2011 to 2017. Prior to this he served houses worldwide. Jazz at Lincoln Center

Mr. Luisi’s CD recordings to date include Michael Guttman, Claus Peter Flor, Roland operas such as Verdi’s Aroldo , Alzira , and Böer, and Joshua Weilerstein Jérusalem , Bellini’s I Puritani and I Capuleti e i Montecchi , all of Robert Schumann’s Recordings: for BBC Radio 3, Rai Radio 3, and Arthur Honegger’s symphonies, and Slovenian National Radio and Television, the symphonies and the oratorio Das Buch and RSI Swiss Radiotelevision; Medtner’s mit sieben Siegeln by the largely forgotten Sonatas and an all-French recital disc for Austrian composer Franz Schmidt. He has SOMM Recordings also recorded various symphonic poems by Richard Strauss and an acclaimed per - Awards: major prizes at Minnesota Piano- formance of Bruckner’s Ninth Symphony e-Competition, London International Piano together with the Staatskapelle Dresden. Competition, Leeds International Piano His recordings of Wagner’s Siegfried and Competition, and Busoni Piano Competition Götterdämmerung with the Met Orchestra in Bolzano earned him a Grammy; in 2013 he won Italy’s coveted “Premio Franco Abbiati” Positions: teaches at the Conservatory of critics’ award; and in 2014 he was awarded Music “Jacopo Tomadini” in Udine, and at the “Grifo d’Oro” by the City of Genoa. Santa Cecilia Music Academy in Portogruaro, both in Italy Y H P A R G

O Education: Santa Cecilia Music Foundation T O

H in Portogruaro; Imola International Piano Aca - P

I R demy with Franco Scala, Leonid Margarius, O G

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I Boris Petrushansky, and Louis Lortie;

G Alessandro R

O Santa Cecilia National Music Academy in I

G Taverna , Piano Rome; the Hochschule für Musik in Appearances: Teatro alla Scala Milan, Hannover; Lake Como Piano Academy Teatro San Carlo Naples, Teatro La Fenice Venice, Musikverein Vienna, Konzerthaus The Orchestra Now – Berlin, Gasteig Munich, Wigmore Hall and The Orchestra Now (T ON) is a group of Royal Festival Hall in London, Bridgewater vibrant young musicians from across the Hall Manchester, Salle Cortot in Paris, globe who are making orchestral music rele - Philharmonic Hall Liverpool, Musashino vant to 21st-century audiences. They are lift - Hall in Tokyo, Auditorium Parco della ing the curtain on the musicians’ experience Musica Rome and sharing their unique personal insights in a welcoming environment. Hand -picked from Performances: with orchestras including the world’s leading conservatories—including Filarmonica della Scala, Munich Philharmonic , The Juilliard School, Shanghai Conservatory RAI National Symphony Orchestra, Royal of Music, Royal Conservatory of Brussels, Philharmonic Orchestra, Minnesota Or - and the Curtis Institute of Music—the mem - – chestra, Royal Liverpool Philharmonic, bers of T ON are not only thrilling audiences Bournemouth Symphony, Bucharest Phil - with their critically acclaimed performances, harmonic, Scottish Chamber, and Orchestra but also enlightening curious minds by giving of the Accademia Teatro alla Scala; with on-stage introductions and demonstrations, conductors including Lorin Maazel, Riccardo writing concert notes from the musicians’ Chailly, Fabio Luisi, Daniel Harding, Michele perspective, and having one-on-one discus - Mariotti, Reinhard Goebel, Thierry Fischer, sions with patrons during intermissions. Jazz at Lincoln Center

Conductor, educator, and music historian Center, The Metropolitan Museum of Art, – Leon Botstein founded T ON in 2015 as a and others across New York City and master’s degree program at Bard College, beyond. The orchestra has performed where he also serves as president. The with many distinguished conductors, orchestra is in residence at Bard’s Richard B. including Fabio Luisi, Neeme Järvi, Gerard Fisher Center for the Performing Arts, per - Schwarz, and JoAnn Falletta. forming multiple concerts there each sea - – son as well as taking part in the annual We invite you to get to know T ON and dis - Bard Music Festival. They also perform cover music in the making! Explore upcom - regularly at the finest venues in New ing concerts, see what our musicians have York, including Carnegie Hall, Lincoln to say, and more at theorchestranow.org. E E N E D

D I V A D The Orchestra Now Leon Botstein , Music Director

Violin I Yuqian Zhang Cello Luke Stence Yurie Mitsuhashi, Dillon Robb Kelly Knox, Principal Kaden Henderson Concertmaster Diego Gabete- Lucas Button Linda Duan Rodriguez* Sarah Schoeffler Flute Weiqiao Wu Jacques Gadway* Alana Shannon Leah Stevens, Principal 1 Drew Youmans Stuart McDonald* Lauren Peacock Denis Savelyev, Jiayu Sun Zhilin Wang Principal 2 Clara Engen Viola Kyle Anderson Matthew Ross Gerg o˝ Krisztian Tóth Larissa Mapua, Principal Bass Oboe Violin II Batmyagmar Erdenebat Mariya-Andoniya James Jihyun Kim, Gaia Mariani Ramsdell, Leonardo Vásquez Andonova- Principal 1 Principal Chacón Henderson, Principal Kelly Mozeik, Principal 2 Leonardo Pineda Emmanuel Koh Joshua De Point Regina Brady Coline Berland Lucas Goodman Zhenyuan Yao Jazz at Lincoln Center

Clarinet Bassoon Trumpet Tuba Ye Hu, Principal 1 Matthew Gregoire, Anita Tóth, Principal 1 Dan Honaker Rodrigo Orviz Pevida, Principal 1 Guillermo García Principal 2 Carl Gardner, Principal 2 Cuesta, Principal 2 Timpani Viktor Tóth Adam Romey Miles Salerni Micah Candiotti- Trombone Pacheco Horn Matt Walley, Principal Percussion Emily Buehler, Principal 1 Federico Ramos, Bass William Kaufman** Luke Baker, Principal 2 Trombone Wanyue Ye** William Loveless VI* Harp Emily Melendes** - Members of T ON can be identified by their distinctive blue attire.

Guest Musicians Violin I Violin II Viola Horn Bruno Pena Simon Bilyk Karen Waltuch Emma Reber Allyson Tomsky Emanouil Manolov William Hakim Daniel Salera Kathryn Aldous Brendan Speltz Dan McCarthy Trombone Hitomi Yakata

* on leave ** not performing in this concert 1 Grieg 2 Brahms – Meet the TON Musicians Music Festival, 2013; Round Top Festival Institute, 2010–11 What inspired you to audition for – – TON? I heard about T ON from Matt E N I

D Strauss, a percussionist in the Houston

T Miles Salerni , T

A Symphony. The opportunity to play with a

M Percussion young group of talented musicians in Miles will talk briefly about Grieg’s Piano incredible venues inspired me to apply. Concerto, Op. 16 on stage before the per - What do you think orchestra concerts formance. should look like in the 21st century? An ensemble that plays a diverse and wide Hometown: Bethlehem, PA range of repertoire in both the concert hall Alma maters: Boston University, B.M.; and other interesting venues. New England Conservatory, M.M.; Duquesne What has been your favorite experience University, A.D. as a musician? Playing with the Silk Road Awards/Competitions: Winner, 2015–16 Ensemble at Tanglewood, a piece called New England Conservatory Honors Chamber “Wedding” written by Syrian clarinetist Ensemble Competition Kinan Azmeh. Appearances: Pittsburgh Symphony Or - What is some advice you would give to chestra, substitute, 2015–17; Fort Worth your younger self? Listen to as much Symphony, substitute, 2015–18; Harrisburg music as possible, especially the stuff I Symphony Orchestra, substitute, 2016–18; don’t think I’d like. Tanglewood Music Center, 2016; Castleton Favorite non-classical musician or band: Lake Street Dive Jazz at Lincoln Center

What is your favorite place you’ve trav - Repertory Orchestra, 2012–13; Round Top eled to and why? Porquerolles, which is an Music Festival, 2011 island off the coast of the French Riviera. What is your earliest memory of classi - There are no cars allowed and they have the cal music? Growing up I had an audiobook most picturesque and pristine beaches. of Beethoven Lives Upstairs by Barbara Piece of advice for a young classical Nichol, which inspired me to take piano musician: Be open and listen to all types lessons. For a second grade presentation I of music from all over the world. dressed up as Beethoven and played the right hand part of Für Elise on the piano. Playing up the composer’s deafness, I had a makeshift ear trumpet and would yell “HUH?!” every time a classmate asked me a question. E N I

D What do you think orchestra concerts

T T

A should look like in the 21st century?

M Luke Stence , Bass Concerts should be shorter than they typi - Luke will talk briefly about Brahms’ cally are. If concerts were only an hour Symphony No. 2, Op. 73 on stage before long without intermission they would be the performance. more digestible to audiences. Which composer or genre of music do you Hometown: Austin, TX feel you connect with the most? I enjoy Alma maters: Manhattan School of playing music written by living composers, Music, Yale University especially in collaborative environments. It is Instagram: @lukestencil exciting to bring new music to life! Awards: Homer Mensch Award, Manhattan Favorite non-classical musician or band: School of Music, 2014 The Talking Heads Appearances: New Haven Symphony; If you could play another instrument, Talea Ensemble; Bard Music Festival, what would it be? Believe it or not, I 2018; Chelsea Music Festival, NYC, 2014, would want to play the viola. 2018; Next Festival of Emerging Artists, If you weren’t a musician, what would NYC, 2017–18; Britten–Pears Young Artist you be doing? I would be an archaeologist. Programme, Aldeburgh, UK, 2016; Music Tell us something about yourself that Academy of the West, 2015–16; Norfolk might surprise us: In my free time I enjoy Chamber Music Festival, 2014; National drawing with charcoal.

The Orchestra Now Artistic Staff Administrative Staff Leon Botstein, Music Director Vincent Roca, General Manager James Bagwell, Associate Conductor Brian J. Heck, Director of Marketing Jindong Cai, Academic Director and Associate Nicole M. de Jesús, Director of Development Conductor Sebastian Danila, Music Preparer and Researcher Zachary Schwartzman, Resident Conductor Marielle Metivier, Orchestra Manager Andrés Rivas, Assistant Conductor Alice Terrett, Marketing Manager Erica Kiesewetter, Professor of Orchestral Practice Benjamin Oatmen, Librarian Bridget Kibbey, Director of Chamber Music and Hsiao-Fang Lin, IT Associate Arts Advocacy Viktor Tóth, Production Coordinator Kristin Roca, Administrative Assistant Jazz at Lincoln Center

Bard College Board of Trustees The Rt. Rev. Andrew M. L. Hilary C. Pennington James C. Chambers ’81, Chair Dietsche, Honorary Trustee Martin Peretz, Life Trustee George F. Hamel Jr., Vice Chair Asher B. Edelman ’61, Life Stewart Resnick, Life Trustee Emily H. Fisher, Vice Chair Trustee David E. Schwab II ’52 Elizabeth Ely ’65, Secretary; Life Robert S. Epstein ’63 Roger N. Scotland ’93, Trustee Barbara S. Grossman ’73, Alumni/ae Trustee Stanley A. Reichel ’65, Alumni/ae Trustee Jonathan Slone ’84 Treasurer; Life Trustee Andrew S. Gundlach Jeannette H. Taylor+ Sally Hambrecht James A. von Klemperer Fiona Angelini Marieluise Hessel Brandon Weber ’97, Alumni/ae Roland J. Augustine Maja Hoffmann Trustee Leon Botstein+, President of the Matina S. Horner+ Susan Weber College Charles S. Johnson III ’70 Patricia Ross Weis ’52 Stuart Breslow+ Mark N. Kaplan, Life Trustee Mark E. Brossman George A. Kellner + ex officio Jinqing Cai Fredric S. Maxik ’86 Marcelle Clements ’69, Life James H. Ottaway Jr., Life Trustee Trustee - THE T ON FUND

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THE YVONNE Joanne and Richard Charlotte Mandell Kelly Robert and Karen NADAUD MAI Mrstik and Robert Kelly Harvey CONCERTMASTER James and Andrea Erica Kiesewetter Jack Homer CHAIR Nelkin Peter J. and Susan B. Neil Jacobs Made possible by The Bonnie and Daniel LeVangia Elizabeth and Ray Mai Family Shapiro Catherine and Jacques Kasevich Foundation Luiggi Nancy S. Leonard and CRESCENDO Christine Munson Lawrence Kramer LEADERSHIP GIFTS Mr. and Mrs. Ronald Nora Post David Lewis Anonymous (2) Atkins Ann and Thomas Robb Emma Lewis Michael Dorf and Sarah Diane and Ronald Blum Linda Schwab- Erika Lieber Connors Stan J. Harrison Edmundson Paul Lowrey Rockefeller Brothers Hospitality Committee Frances Sharpless Harvey Marek Fund for United Nations James K. Smyth Ms. Emily Michael Felicitas S. Thorne Delegations (HCUND) Allan and Ronnie Warren R. Mikulka Kassell Family Streichler Millbrook Acupuncture, CONDUCTOR’S BOX Foundation of the Theodore and Alice PLLC Marshall Family Jewish Communal Ginott Cohn Karen E. Moeller and Foundation, Inc. Fund Philanthropic Fund Charles H. Talleur Tatsuji Namba Judith R. Thoyer Gary E. Morgan ALLEGRO Maury Newburger Roy Moses Gary and Martha Brigitte R. Roepke DOWNBEAT Douglas Okerson and Giardina – Anonymous (2) William Williams TONor Jesika Berry Catherine K. and Fred FORTE Anonymous Kent Brown Reinis Anonymous Richard Bopp Dora Jeanette Canaday Nina Selmayr Robert Losada Phyllis and Joseph Maria J. Chiu Frances Smyth Harold Oaklander DiBianco Susan Christoffersen Joseph Storch Denise and Glenn Ross Christine Edwards Ann Cunningham Tigue Rose Veccia Barbara Ewert Nicole M. de Jesús and Michael and Leslie TRUMPETER Arnold and Milly Brian P. Walker Weinstock Anonymous (3) Feinsilber Hildegard Frey Edling Meyer J. Wolin Joseph Baxer and Stephen J. Hoffman Christopher H. Gibbs Barbara Bacewicz Scott Huang

This list represents gifts made to The Orchestra Now between January 1, 2018, and February 22, 2019. – For information on making a contribution to T ON, or to update your listing, please contact Nicole M. de Jesús at [email protected] or 845.759.7988. Thank you for your partnership. Jazz at Lincoln Center

THE ORCHESTRA NOW SPRING 2019 CONCERTS IN NYC

DE PROFUNDIS : OUT OF THE DEPTHS Four composers, including Lera Auerbach and Lili Boulanger, interpret Psalm 130 in a unique and stirring concert that includes two U.S. premieres. Leon Botstein , conductor Elizabeth de Trejo , soprano Vadim Repin , violin Bard Festival Chorale James Bagwell , choral director

Virgil Thomson De Profundis Joachim Raff Psalm 130: De Profundis (U.S. Premiere) Lera Auerbach De Profundis (Violin Concerto No. 3) (U.S. Premiere) Lili Boulanger Psalm 130: Du fond de l’abîme (De Profundis) at Carnegie Hall, Stern Auditorium/Perelman Stage Thursday, May 2, at 7 p.m.

SIGHT & SOUND ABSTRACTION IN MUSIC & ART Conductor and music historian Leon Botstein explores the parallels between Webern’s Six Pieces for Orchestra , Feldman’s Orchestra (NY Premiere), and the artwork of the Abstract Expressionists , including Pollock, Rothko, de Kooning, and others. Leon Botstein , conductor Sunday, May 19, at 2 p.m.

More information available at theorchestranow.org.