Edition 4 | 2018-2019

2 RENO CHAMBER ORCHESTRA WELCOME PAGE Welcome To The Fifteenth Annual

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This program is published in association with Stuart Murtland Photography 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 Tanglewood Productions division of Onstage Publications, Inc. Contents © 2018.

RENO CHAMBER ORCHESTRA 3

BOARD OF DIRECTORS AND STAFF

BOARD OF DIRECTORS Amy Booth STAFF Mark MacDonald Holly Walton-Buchanan Thom Mayes, President Kay Dean Executive Director Cleta Dillard Jennifer Smith William Douglass Bryan Wildman, First Vice President Gail McAllister Office Manager Jane Nichols John Tozzi Robin Ravazzini Kati Wentink, Operations Second Vice President Lloyd Rogers Manager and Librarian Judith Simpson Tasha Reisz Tony Stoik Dustin Budish, Treasurer Karen Stout-Gardner Personnel Manager

Fred Jakolat Korona Phelps, Accountant Secretary Alisen Olsen, Office Assistant

Cameo Flores, Stage Manager

Sophie Ralston, Digital Marketing

Reno Chamber Orchestra This project is funded, in part, by a grant from 925 Riverside Drive, Suite 5 Reno, NV 89503 Phone (775) 348-9413 the Nevada Arts Council, Fax (775) 348-0643 a state agency, and www.RenoChamberOrchestra.org the National Endowment for the Arts, a federal agency.

Member of the

These concerts have been made possible, in part, by the support of

The City of Reno Arts and Culture Commission.

The mission of the Reno Chamber Orchestra is to create intimate, inspirational musical experiences by engaging the community through vibrant music making by the Chamber Orchestra and chamber ensembles. Superb Music. Shared Experience. Enriched Lives.

RENO CHAMBER ORCHESTRA 5 NCMF FOUNDING MEMBERS

Edna and Bruno Benna Marilyn Hadley Nancy and Jack Rose Peggy and Bruce Bossie International Game Technology St. Rose of Lima Church Yvonne and Allan Brady Jeane Jones Vera Stern Jill Brandin and Durian Pingree Walter Katai Timkin-Sturgis Foundation Madeleine Chiappero KUNR University of Nevada, Reno Davidson Institute for Talent Bobbi and Dale Lazzarone Sue and Dieter von Hennig Development The Mary Bremer Foundation Washoe Medical Center Gail and Bill Dawson Meadowood Mall Wells Fargo Nancy and Barry Downs Reno Gazette-Journal Jill M. Winter EstiponaVialpando Partners Reno Hilton Christine and John Worthington Great Basin Internet Services Heidemarie Rochlin

6 RENO CHAMBER ORCHESTRA 2018 NCMF MUSICIANS THE MUSICIANS THIS YEAR ARE:

MARTIN CHALIFOUR SCOTT FAULKNER JUN-CHING LIN 2018 Artistic Director Principal Bassist, Assistant Concertmaster, Atlanta Concertmaster, Reno Chamber Orchestra, Symphony Orchestra Los Angeles Philharmonic Reno Philharmonic JON KIMURA PARKER DMITRI ATAPINE ALOYSIA FRIEDMANN Founding Member of the Cellist, Artistic Director, Violinist and Violist, Montrose Trio Ribadesella Chamber Music Orchestra of St. Luke, Festival and Apex Concerts Houston Grand Opera Orchestra STEPHANIE SANT’AMBROGIO Professor of Violin and DUSTIN BUDISH CLIVE GREENSMITH Viola at UNR, Principal Violist, Former Cellist, Artist Director of Reno Chamber Orchestra, Tokyo String Quartet; Cactus Pear Music Festival Reno Philharmonic Faculty, The Colburn School BRIAN SCHULDT CHEE-YUN MAK GRGIĆ Cellist, Felici Piano Trio; Internationally renowned Classical Guitarist, Executive Director, Violin Soloist Founding Member of Chamber Music Unbound Spoleto USA Duo Deloro STEVEN VANHAUWAERT CHE-YEN CHEN REBECCA HANG Pianist, Violist, Violinist, Felici Piano Trio, Chamber Founding Member of the Felici Piano Trio, Music Unbound Formosa Quartet Chamber Music Unbound JAMES WINN YA-FEI CHUANG RUTH LENZ Professor and Internationally-acclaimed Pianist; Concertmaster, Argenta Trio member, UNR; Faculty member, Reno Chamber Orchestra, Former Solo Pianist, Boston University; Reno Philharmonic New York City Ballet Steinway Artist MARK KOSOWER Principal Cello, Cleveland Orchestra, Cleveland Institute of Music

RENO CHAMBER ORCHESTRA 7 2018 NCMF MUSICIAN BIOGRAPHIES MARTIN CHALIFOUR Society of Lincoln Center and is an alum of The Bowers Program (formerly CMS Two). (INTERIM ARTISTIC His multiple festival appearances have included DIRECTOR AND VIOLIN) Music@Menlo, Chamber Music Northwest, La Musica Sarasota, Nevada Chamber Music artin Chalifour has held Festival, Cactus Pear Music Festival, Pacific Mthe prestigious post of Music Festival, Aldeburgh Festival, and Aix- Principal Concertmaster of en-Provence Festival among many others, with the Los Angeles Philharmonic since 1995. He performances broadcast on radio and television also is currently a professor at the University of in Spain, Italy, the United States, Canada, Southern California’s Thornton School of Music. Mexico, and South Korea. The recipient of various grants and awards in his native Canada, he graduated with honors Mr. Atapine’s many awards include top prizes from the Montreal Conservatory at the age of at the Carlos Prieto International, the Florian 18, and then moved to Philadelphia to pursue Ocampo, and the Llanes cello competitions, studies at the Curtis Institute of Music. In 1986, as well as the Plowman, New England, and the Mr. Chalifour received a Certificate of Honor at Premio Vittorio Gui chamber competitions. His the Tchaikovsky Competition in Moscow and recent engagements have included collaborations was a laureate of the Montreal International with such distinguished musicians as Cho-Liang Competition the following year. Since then he Lin, Paul Neubauer, David Finckel, Ani and has concertized extensively, playing hundreds Ida Kavafian, Wu Han, Bruno Giuranna, David of concerto performances in a repertoire of Shifrin, and the St. Lawrence String Quartet. more than fifty works under conductors such Mr. Atapine’s recordings, among them a world- as Pierre Boulez, Charles Dutoit and Christoph premiere of Lowell Liebermann’s complete Eschenbach. Mr. Chalifour is a frequent guest works for cello and piano, can be found on the at other music festivals, including the Mainly Naxos, Albany, Urtext Digital, BlueGriffin and Mozart Festival in San Diego, the Sarasota Music Bridge record labels. Festival, and the Ottawa International Music Festival. Mr. Chalifour began his orchestral Mr. Atapine holds the doctorate degree from career as Associate Concertmaster of the Atlanta Yale School of Music, where he was a student of Symphony in 1984. Subsequently he occupied Aldo Parisot. Born into a family of musicians, his the same position for five years in The teachers have included Alexander Fedortchenko Cleveland Orchestra where he also served as and Suren Bagratuni. The Artistic Director of Acting Concertmaster. Ribadesella Chamber Music Festival (Spain) and Apex Concerts (Nevada), he is the cello professor Martin Chalifour’s appearance at the 2018 Nevada at the University of Nevada, Reno. Chamber Music Festival is made possible by a generous gift from Lillian and Steve Frank. Dmitri Atapine’s appearance at the 2018 Nevada Chamber Music Festival is made DMITRI ATAPINE possible by a generous gift from Pat and (CELLO) Mark MacDonald. mitri Atapine has been DUSTIN BUDISH Ddescribed as a cellist with (VIOLA) “brilliant technical chops” (Gramophone), whose playing ustin Budish is the Acting is “highly impressive throughout” (The Strad). DPrincipal Violist of the Reno As a soloist and recitalist, he has appeared on Chamber Orchestra, where he some of the world’s foremost stages, including also serves as Personnel Manager, Alice Tully Hall at Lincoln Center, Zankel and and Principal Violist of the Reno Philharmonic. Weill halls at Carnegie Hall, Chicago Cultural A native of Reno, after graduating from the Center, and the National Auditorium of Washoe County School District, he went on Spain. An avid chamber musician, Mr. Atapine to study at Oberlin College and the Cleveland frequently performs with The Chamber Music Institute with Jeffrey Irvine for which he

8 RENO CHAMBER ORCHESTRA 2018 NCMF MUSICIAN BIOGRAPHIES received his Bachelor of Music degree in viola Concert Artists International Auditions, and performance and then received his MM with a year later she became the recipient of the honors at the New England Conservatory with prestigious Avery Fisher Career Grant. Martha Katz. While in school, Mr. Budish was a founding member of the Mephisto Quartet, Chee-Yun’s appearance at the 2018 Nevada which worked with and performed alongside Chamber Music Festival is made possible by a members of the Cavani, Tokyo, Vermeer, and generous gift from Gail and Jack McAllister. Cleveland Quartets, and received the Russell Award at the Coleman Chamber Music CHE-YEN CHEN Competition in 2001. He has performed at the Ravinia, Norfolk, and Cactus Pear Music (VIOLA) Festivals, and in 2005 was invited to Israel to ewly appointed professor of perform with Maxim Vengerov’s Mozart Project viola at the UCLA’s Herb with the Verbier Festival Chamber Orchestra. N Alpert School of Music, award- As a member of the New World Symphony, winning violist Che-Yen Chen Mr. Budish was featured as soloist with the is a founding member of the Formosa Quartet orchestra as a winner of the annual concerto and First-Prize winner of the 2006 London competition. He is a member of the Sun Valley International String Quartet Competition. Summer Symphony, and is also a regular He was awarded the First-Prize in the 2003 substitute with the San Francisco Symphony. Primrose International Viola Competition and Dustin Budish’s appearance at the 2018 Nevada has been described by San Diego Union Tribune Chamber Music Festival is made possible by as an artist whose “most impressive aspect of a generous gift from Cecilia Lee. his playing was his ability to find not just the subtle emotion, but the humanity hidden in the music.” Chen’s recordings with the Formosa CHEE-YUN Quartet can be found on EMI, Delos, and (VIOLIN) New World Records, and the quartet’s current project, From Hungary to Taiwan, will be iolinist Chee-Yun’s flawless released with Bridge Records in the 2018-19 Vtechnique, dazzling tone season. Having served as principal violist of and compelling artistry have the San Diego Symphony and Mainly Mozart enraptured audiences on five Festival Orchestra, Chen has appeared as guest continents. She has performed with many of principal with Los Angeles Philharmonic, San the world’s foremost orchestras and conductors. Francisco Symphony, Cincinnati Symphony Orchestral highlights include her tours of the Orchestra, National Arts Centre Orchestra, United States with the San Francisco Symphony and Toronto Symphony Orchestra. Performing under Michael Tilson Thomas and Japan with in chamber music festivals across North the NHK Symphony, a concert with the Seoul America and Asia, Chen is a founding member Philharmonic conducted by Myung-Whun of Camera Lucida and The Myriad Trio. As Chung that was broadcast on national television, a former member of Lincoln Center Chamber and a benefit for UNESCO with the Orchestra Music Society and a participant of the Marlboro of St. Luke’s at Avery Fisher Hall. In 2016, Festival, Chen’s combine passion in chamber Chee-Yun performed as a guest artist for the music and education has led him to embark Secretary General at the United Nations in on cofounding the Formosa Chamber Music celebration of Korea’s National Foundation Day Festival, the first intensive chamber music and the 25th anniversary of South Korea joining training program of its kind in Taiwan. Before the UN. Firmly committed to chamber music, joining UCLA, Chen has been on the faculty Chee-Yun has toured with Music from Marlboro of USC, UCSD, SDSU, CSU Fullerton, and and appears frequently with Spoleto USA, a has given masterclasses in major institutions project she has been associated with since its across North America and Asia. inception. Chee-Yun’s first public performance at age eight took place in her native Seoul after Che-Yen Chen's appearance at the 2018 Nevada she won the Grand Prize of the Korean Times Chamber Music Festival is made possible by a Competition. In 1989, she won the Young generous gift From a Friend of the RCO.

RENO CHAMBER ORCHESTRA 9 2018 NCMF MUSICIAN BIOGRAPHIES YA-FEI CHUANG SCOTT FAULKNER (PIANO) (DOUBLE BASS)

a-Fei Chuang has appeared cott Faulkner is principal Yat numerous international Sbassist of the Reno festivals, among them the Bach Philharmonic, and acting (Leipzig), Bach (Oregon), principal bassist of the Reno Beethoven (Warsaw), European (Stuttgart), Chamber Orchestra. In addition to playing Mozartwoche (Salzburg), Ravinia, Sarasota, in the Nevada Chamber Music Festival, he Schleswig-Holstein, Tanglewood, Taiwan, and performs regularly at La Musica Chamber Music Verbier. She has performed as soloist with Festival in Sarasota (FL). He has worked with orchestras such as the Berlin Radio Symphony, the likes of Bruno Giuranna, Antonio Meneses, Boston Philharmonic, Boston Pops, City Edgar Meyer, Leonard Nimoy, Luciano Pavarotti, of Birmingham, Israel Symphony, Tokyo and Itzhak Perlman. From 2001 to 2015 he Metropolitan Symphony at venues such as Berlin’s was executive director of the Reno Chamber Philharmonic Hall, the Schauspielhaus Berlin, Orchestra, and in that capacity, helped found the Gewandhaus Leipzig, Queen Elisabeth Hall the Nevada Chamber Music Festival. Faulkner in London, Suntory Hall in Tokyo, Symphony is very active in the League of American Hall in Boston. Ms. Chuang performs regularly Orchestras. A past League board member, he as duo partner with Steven Isserlis, and Robert is associate director of the League’s Essentials Levin. The Ruhr Piano Festival has released of Orchestra Management seminar, and teaches numerous CDs of her performances there, on behalf of the League around the country. among them her May 2007 solo recital (also He authored the entry on Reno for the Grove distributed as a premium by the music magazine Dictionary of American Music, and writes a ‘Fono Forum’) and the Mendelssohn G-minor monthly column for the Reno Gazette-Journal. Piano Concerto. Her recent engagements include Faulkner plays a 1735 Hornsteiner-Mittenwald concerts and recordings in Berlin’s Philharmonic bass, and is married to Reno musical legend Hall, appearances on national TV in Tel Aviv, Andrea Lenz. at the National Concert Hall Taipei, in Hong Kong, Germany, London, Paris, Salzburg, Scott Faulkner’s appearance at the 2018 South America and throughout the U.S. She Nevada Chamber Music Festival is made has recorded solo, concerto, and chamber music possible by generous gifts from Mary Ann works for Naxos, Harmonia Mundi, ECM, and and James Kidder and from Trudy Larson New York Philomusica Records. Her recording and Ron Luschar. of Hindemith’s chamber music works with Spectrum Berlin was awarded a special prize by ALOYSIA FRIEDMANN the International Record Review 2009. In spring 2019 two CDs of Chopin and Liszt will be (VIOLA) released by Le Palais des Dégustateurs (distributed loysia Friedmann is a violinist by Harmonia Mundi). A and violist whose broad- Ya-Fei’s appearance at the 2018 Nevada ranging career has included Chamber Music Festival is made possible by tours in Japan, Europe, South a generous gift from Barbara and Robert Fox. America and the United States, performances with New York’s most prestigious musical ensembles, and a special onstage role on Broadway. The New York Times praised her “fiery spirit” after her Carnegie Recital Hall debut. As a regular member of the Orchestra of St. Luke’s she has performed classical symphonies in Carnegie Hall and rock’n’roll alongside Metallica in Madison Square Garden. She made her Broadway debut as the violinist in Shakespeare’s Merchant of Venice, which

10 RENO CHAMBER ORCHESTRA 2018 NCMF MUSICIAN BIOGRAPHIES starred Dustin Hoffman. Ms. Friedmann Music. He is a faculty member at the Colburn performed with the Soni Ventorum Quintet Conservatory of Music and Meadowmount on the world premiere recording of William School of Music. In July 2019, Clive will O. Smith’s “Jazz Set for Violin and Wind succeed violinist Günther Pichler as the director Quintet.” Ms. Friedmann is featured as both of chamber music at the International Summer violist and producer on the CD Classical Music Festival of the Accademia Chigiana in Siena. with a View: Islands and Vistas. She has been an Affiliate Artist of Viola at the Moores School Clive Greensmith’s appearance at the 2018 of Music at the University of Houston and Nevada Chamber Music Festival is made possible performs regularly with the Houston Grand by a generous gift from William Douglass. Opera orchestra. Trained at The Juilliard School and the University of Washington, Friedmann MAK GRGIC plays on a Grancino violin and a Grancino viola. (GUITAR) Aloysia Friedmann’s appearance at the 2018 Nevada Chamber Music Festival is made he expansiveness of Mak possible by a generous gift from Ann Wood. TGrgic’s repertoire winds its way through a dizzying array of approaches, from music CLIVE GREENSMITH of the Baroque and Renaissance to music of a (CELLO) cinematic nature, ethnic music of his native Balkan Peninsula, and avant-garde and live Greensmith joined the microtonal music. Mak collaborates with many Crecently retired Tokyo String esteemed musicians, such as JACK Quartet, Quartet in 1999 and performed Martin Chalifour, Jay Campbell, Joshua with the quartet at prestigious Roman, The Assad Brothers, Ashley Bathgate, venues across the United States, Europe, and John Sant’Ambrogio. Grgic is also a Australia and the Far East. Previously, he held founding member of Duo Deloro with Adam the position of principal cellist of London’s Del Monte and FretX Duo with Daniel Royal Philharmonic Orchestra. As a soloist, Lippel. As a soloist, both with orchestra and he has appeared with the London Symphony, in recital, he has performed at numerous venues Royal Philharmonic, Toronto Symphony, worldwide. Born in Ljubljana, Slovenia, he English Chamber Orchestra, Mostly Mozart studied guitar in Zagreb with the revered Orchestra, Seoul Philharmonic, and the RAI Ante Cagalj at the Elly Basic Conservatory of Orchestra of Rome. He has collaborated with Music and obtained his Bachelor’s Degree at distinguished musicians such as Leon Fleisher, the University for Music and Performing Arts Claude Frank, Alicia de Larrocha, Sabine in Vienna, Austria. He finished his Doctoral Meyer, Midori, András Schiff and Pinchas Degree at the USC Thornton School of Zukerman, and has won several prizes Music. This year he begins an artist diploma including second place in the inaugural program at USC, where he is the first guitarist “Premio Stradivari” held in Cremona, Italy. in the university’s history to receive such an Mr. Greensmith has performed at the Marlboro honor. When he is not involved in music, Music Festival, Salzburg Festival, Edinburgh Grgic helps fundraise for Bosnian children Festival, Pacific Music Festival, Sarasota Music with financial difficulties. Festival, and Norfolk Chamber Music Festival. Mr. Greensmith’s recording of works by Mak Grgic’s appearance at the 2018 Nevada Brahms and Schumann with Boris Berman Chamber Music Festival is made possible by a was recently released on the Biddulph label. generous gift from Holly Walton-Buchanan Recordings with the Tokyo String Quartet and Kel Buchanan. include the complete Beethoven quartets, and the Mozart “Prussian” quartets. Mr. Greensmith has served on the faculties of the Royal Northern College of Music, Yehudi Menuhin School and San Francisco Conservatory of

RENO CHAMBER ORCHESTRA 11 2018 NCMF MUSICIAN BIOGRAPHIES REBECCA HANG Conservatory of Music from 2005-2007. Kosower began cello studies with his father. (VIOLIN) Important academic and life-long influences were Janos Starker, who invited him to study ebecca Hang was born in at Indiana University, and Joel Krosnick, with Germany and began her R whom he studied at The Juilliard School. He violin studies at the Peter is a former member of Chamber Music Two, a Cornelius Conservatory in two-year residency program of the Chamber Mainz with Helga Waehdel. From 1987 until Music Society of Lincoln Center. He received an 1990 she lived in Israel where she studied with Avery Fisher Career Grant, a SONY Grant, and the concertmaster of the Israel Philharmonic, was top prize winner in both the Rostropovich Chaim Taub. Rebecca continued her musical and Pablo Casals International Cello education with Atar Arad and Paul Biss at Competitions. His recordings include Eberhard Indiana University, where she received Bachelor’s Klemmstein’s Cello Concerto and the Victor and Master’s degrees in violin performance. A Herbert Cello Concertos for Naxos International. member of the Felici String Quartet, she won first prize in the 1992 Michael Kuttner Mark Kosower's appearance at the 2018 Competition at IU, the MTNA Competition Nevada Chamber Music Festival is made in Indianapolis, the Russell Award of the 1993 possible by a generous gift From a Friend of Coleman Competition and was a prize winner the RCO. of the International String Quartet Competition in Japan that same year. In June 1993 Rebecca gave her New York solo debut in Lincoln RUTH LENZ Center’s Juilliard Theater. As member of (VIOLIN) the International “Guido Cantelli” Chamber Orchestra in Milan, Italy, she toured throughout uth Lenz became Europe and the U.S. before accepting the NEA Rconcertmaster of the Reno Rural Residency Grant with the Felici Piano Philharmonic in 2010 and of Trio in Mammoth Lakes, CA, in 1998. Rebecca the Reno Chamber Orchestra dedicates much of her time to CMU’s Music in 2011. She has also served as concertmaster School, teaching more than 125 violin students. for the Fresno Philharmonic and the Sunriver Festival Orchestra. As a chamber and festival Rebecca Hang’s appearance at the 2018 musician she has performed with the Sacramento Nevada Chamber Music Festival is made Chamber Music Society and Classical Tahoe possible by a generous gift from Mary and in California; the Argenta Series for the John Tozzi. University of Nevada, Reno; in the Spoleto Festival in Charleston, South Carolina; the MARK KOSOWER Telluride Chamber Music Festival in Colorado; the Carpe Diem String Quartet in Columbus (CELLO) Ohio; and the Kammermusiktage in Barth, Germany. 2018-19 engagements include the modern player with a La Musica Festival in Sarasota, Florida; the “signature sound” and A Tahoe Chamber Music Society series in Nevada; distinctive style of playing, the Aurelia Chamber Players and Festival Napa Mark Kosower embodies the in California; the Mayshad festival in Morocco concept of the complete musician performing and the Nevada Chamber Music Festival. Dr. as concerto soloist with symphony orchestras, Lenz has had the honor of collaborating with in solo recitals and with pianist Jee Won Oh, such distinguished artists as Robert Levin, Noah and as a much sought-after chamber musician. Bendix-Balgley, Pascal Roge, James Buswell, He is Principal Cello of the Cleveland Orchestra, Bruno Giuranna, Pamela Frank, Peter Wiley a scholar and Teacher of Cello at the Cleveland and Carol Wincenc. Ruth has appeared as a Institute of Music and the Kent/Blossom Music soloist with the Reno Philharmonic, the Reno Festival. Previous posts include Solo Cellist of Chamber Orchestra, the Ruby Mountain the Bamberg Symphony Orchestra in Germany Symphony, the Carson City Symphony, the from 2006-2010, and Professor of Cello Lake Tahoe Summer Music Festival Orchestra, and Chamber Music at the San Francisco

12 RENO CHAMBER ORCHESTRA 2018 NCMF MUSICIAN BIOGRAPHIES the Toccata Orchestra, the Reno Baroque Lin was born in Taipei, Taiwan, and grew up Ensemble and the Sunriver Festival. in Boston. He is a graduate of the Curtis and Cleveland Institutes of Music. He met his Ruth began her violin studies at age two with wife, Helen Porter, during the first summer her mother. Other formative childhood teachers of Encore and they are the proud parents of include Roy Malan, Suzanne Beia, Won Bin Yim Emma and Nicholas. and Cynthia Lang. She received her Bachelor’s and Master’s degrees in Music Performance Jun-Ching Lin's appearance at the 2018 from the University of Nevada, Reno where she Nevada Chamber Music Festival is made studied with Phillip Ruder. She then went on possible by a generous gift From a Friend of to get her Doctorate at the University of Illinois the RCO in Honor of the founding members at Champaign/Urbana where she studied with of the Nevada Chamber Music Festival. Sherban Lupu and Danwen Jiang. In addition to performing, Ruth has a passion for teaching. She has attended intensive pedagogy seminars JON KIMURA PARKER such as the week-long Delay Symposium at (PIANO) Juilliard in order to enhance her teaching skills. In her free time Ruth is an avid equestrian nown for his passionate and outdoor enthusiast. She has two children, Kartistry and engaging stage Sidonie and Benjamin. She plays a 1957 Simone presence, with multiple solo Fernando Sacconi violin. appearances at the Berlin Philharmonic, London’s South Bank, the Sydney Ruth Lenz’s appearance at the 2018 Nevada Opera House, and the Beijing Concert Hall, Chamber Music Festival is made possible by Jon Kimura Parker continues to perform to a generous gift from Heidemarie Rochlin. great acclaim. A true Canadian ambassador of music, Mr. Parker has given command performances for Queen Elizabeth II, the U.S. JUN-CHING LIN Supreme Court, and the Prime Ministers of (VIOLIN) Canada and Japan. He is an Officer of The Order of Canada, his country’s highest civilian un-Ching Lin joined the honor. He performs as duo partner regularly JAtlanta Symphony Orchestra with James Ehnes, Aloysia Friedmann, Lynn as Assistant Concertmaster Harrell, Jamie Parker, Orli Shaham, and Cho- in 1988 after a year as Liang Lin. He performs regularly with the Concertmaster of the Augusta Symphony. Miró Quartet, and is a founding member of He was recently appointed Concertmaster of the Montrose Trio with violinist Martin Beaver the Kalamazoo Symphony, and has been the and cellist Clive Greensmith, and also founded Concertmaster of the Atlanta Opera Orchestra Off The Score with iconic Police drummer and guest Concertmaster with the Florida, Stewart Copeland. An active media personality, Fort Worth, and Phoenix Symphonies. Lin is Mr. Parker hosted the television series Whole very active in education, hosting educational Notes on Bravo! and CBC Radio’s Up and residencies at Trinity School in Atlanta and in Coming. A committed educator, he is Professor Kalamazoo. He has been the first violin coach of Piano at The Shepherd School of Music at of the Atlanta Symphony Youth Orchestra Rice University and Artistic Director of the for over 25 years and has taught at Emory Honens International Piano Competition. He University, Georgia Tech University, has recorded for Telarc, CBC, and his own label. Meadowmount, Encore School for Strings, “Jackie” Parker won the Gold Medal at the 1984 and Franklin Pond Chamber Music. Lin is Leeds International Piano Competition. He the first violinist of the Franklin Pond String lives in Houston with his wife, violinist Aloysia Quartet and a founding member of the Emory Friedmann, and their daughter Sophie. Chamber Music Society of Atlanta. He has played chamber music on the violin and viola Jon Kimura Parker’s appearance at the 2018 with Alan Gilbert, the Merling Trio, Robert Nevada Chamber Music Festival is made Spano, and Yo-Yo Ma. Mr. Lin has participated possible by a generous gift from Jennifer in festivals in Highlands-Cashiers, La Jolla, Smith and John Thayer. San Diego, and Steamboat Springs. Jun-Ching

RENO CHAMBER ORCHESTRA 13 2018 NCMF MUSICIAN BIOGRAPHIES STEPHANIE Atar Arad, Corey Cerovsek, Hagai Shaham and Eli Eban. Brian was the cellist of the Arcadia SANT’AMBROGIO String Quartet, which won the grand prize (VIOLIN) of the 1995 Yellow Springs Chamber Music Competition and the Indiana University escribed by Gramophone Kuttner Quartet Scholarship. He has appeared DMagazine as a “violinist who as soloist with the Oak Ridge Symphony, most often takes your breath Auburn Symphony, Owensboro Symphony, away” and praised as an “expressive and passionate Eastern Sierra Symphony and the Chamber chamber musician” by the San Antonio Express- Orchestra “Cantelli” of Milan, Italy. He has News, Stephanie Sant’Ambrogio enjoys a varied served as guest principal cellist for the Fresno performing and recording career as a soloist, Philharmonic, Owensboro Symphony and chamber musician, and orchestral leader. “Cantelli”. He has been a guest lecturer/instructor Professor of Violin and Viola at the University at Indiana University, University of Tennessee of Nevada, Reno and member of the Argenta and Tennessee Tech. From 1994-1996, Brian Trio, she is also Artistic Director of Cactus held the appointment of Assistant Instructor Pear Music Festival, which she founded in of Cello at Indiana University. He is currently 1997 while serving as Concertmaster of the San Executive Director of Chamber Music Unbound. Antonio Symphony. Previously First Assistant Principal Second Violin of The Cleveland Brian Schuldt’s appearance at the 2018 Nevada Orchestra, Ms. Sant’Ambrogio has performed Chamber Music Festival is made possible by as a soloist and chamber musician throughout a generous gift from Judith Strasser. the U.S. as well as in Mexico, Canada, Estonia, Sweden, Ghana, Italy, Peru, and Chile. She has performed as first violinist with the Miami STEVEN VANHAUWAERT String Quartet and has been a guest artist (PIANO) with The Chamber Music Society of Lincoln Center. She toured Italy with Mikhail ailed by the Los Angeles Times Baryshnikov’s White Oak Dance Project, Hfor his “impressive clarity, toured throughout Ohio with Cleveland’s sense of structure and monster Myriad, and for ten years performed with technique,” Steven Vanhauwaert the Amici String Quartet, of which she was a has garnered a wide array of accolades, including founding member. Ms. Sant’Ambrogio studied First Prize at the Los Angeles International with and was the graduate assistant to Donald Liszt Competition. Mr. Vanhauwaert has made Weilerstein at The Eastman School of Music, his solo debut at Walt Disney Concert Hall in where she received her Master of Music degree. Los Angeles performing the world premiere of Fratello by Magnus Lindberg, and he was Stephanie Sant’Ambrogio’s appearance at the featured again in the Piano Spheres series at 2018 Nevada Chamber Music Festival is made Disney Hall with a daring program consisting possible by a generous gift from Lester Cohen. of 20th and 21st century etudes for piano, including special commissions by Veronika Krausas and Eric Tanguy. He also appeared as BRIAN SCHULDT a soloist at the National Center of the Performing (CELLO) Arts in Beijing, the Shanghai Oriental Arts Center, the Concertgebouw in Brugge, the s a founding member of Great Hall of the Budapest Liszt Conservatory, Athe Felici Piano Trio, Brian and the National Philharmonic of Ukraine in Schuldt has performed hundreds Kiev, amongst others. His discography features of critically-acclaimed concerts Schubert, Liszt, Saint-Saens, Stravinsky, Ravel, in the U.S., Europe and South America. His Schumann, and Debussy, as well as a wide range chamber music collaborations include renowned of lesser-known composers. His albums Joseph artists such as Tsuyoshi Tsutsumi, Edward Auer,

14 RENO CHAMBER ORCHESTRA 2018 NCMF MUSICIAN BIOGRAPHIES

Woelfl: The Paris Years and Pensées Intimes were pianist with the New York City Ballet, a member included in the Top 10 award on the Belgian of the New York New Music Ensemble, of radio and received 5 diapasons in France. His Hexagon (woodwind quintet plus piano), album Dispersion, featuring works by Hindemith, and the pianist and resident composer of the Vierne, Casella, Schulhoff and a world premiere Telluride Chamber Music Festival, as well as recording by Belgian composer Raymond a frequent guest with the Chamber Music Moulaert, received rave reviews. Mr. Vanhauwaert Society of Lincoln Center, Speculum, the is a Steinway Artist. Group for Contemporary Music, Cactus Pear Chamber Music Festival, La Musica Steven Vanhauwaert’s appearance at the 2018 International Chamber Music Festival, and Nevada Chamber Music Festival is made Bargemusic. Well-known as a specialist in possible by a generous gift from Jane and new music, he has been involved in numerous James Nichols. world premieres and premiere recordings by many renowned composers, among them 13 Pulitzer Prize winners. He is currently a JAMES WINN member of Argenta, UNR’s resident piano trio, (PIANO) a founding member and regular participant in the Nevada Chamber Music Festival, and ames Winn, piano and performs regularly in recital with internationally Jcomposition professor at the acclaimed New York based violinist Rolf University of Nevada, Reno Schulte. An active recording artist, Winn is since 1997, made his professional featured in more than three dozen CDs as debut with the Denver Symphony at the age soloist, chamber musician, and composer. He of thirteen, and has been performing widely has received numerous career recognitions in North America, Europe, and Asia ever since. including an Artist Fellowship from the Nevada With his duo-piano partner, Cameron Grant, State Council of the Arts and the Governor’s he was a recipient of the top prize given in the Award for Excellence in the Arts. two-piano category of the 1980 Munich Competition (Musical America wrote about James Winn’s appearance at the 2018 Nevada the team “Not since Josef and Rosina Lhevinne Chamber Music Festival is made possible by regaled us in the thirties have we heard such generous gifts from Kathy and Fred Jakolat technical prowess paired with such genuine and from Kay, Randall, and Marjorie Dean. musical values”). Dr. Winn has been a solo

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PROGRAM

WEDNESDAY, DECEMBER 26, 2018, Great Basin Brass Quintet 7:00 P.M. LUTHERAN CHURCH OF RENWICK THE GOOD SHEPHERD Dance

KEVIN McKEE Escape

DEBUSSY Le Petit Negre

EWALD Quintet No. 1

COPLAND Grover’s Corners

TRADITIONAL Just A Closer Walk

INTERMISSION

HOLBORNE Fairy Round

GERSHWIN Bess You Is My Woman Now

COLLIER JONES Four Movements For Five Brass

PENELLA El Gato Montes

WALLER Ain’t Misbehavin

COHAN Yankee Doodle THE GREAT BASIN BRASS, Paul Lenz Jef Dederian Program subject to change. John Lenz Jim Albrecht Russ Dickman

RENO CHAMBER ORCHESTRA 17 PROGRAM

THURSDAY, DECEMBER 27, 2018, Baroque by Candlelight 1: Violin Virtuosi 2:00 P.M. TRINITY EPISCOPAL CATHEDRAL VIVALDI Concerto for four Violins RV553 in B flat major Allegro Largo Allegro Martin Chalifour, Chee-Yun, Stephanie Sant’Ambrogio, Ruth Lenz (w/orchestra)

BACH Suite No. 5 for Solo Cello: Prelude, Gavottes 1&2, Gigue Mark Kosower, cello BACH Brandenburg Concerto No. 5 Allegro Affetuoso Allegro Martin Chalifour, Stephanie Sant’Ambrogio, Jim Winn w/orchestra: Rebecca Hang, Dustin Budish, Dmitri Atapine, Scott Faulkner

INTERMISSION

TELEMANN Concerto for four Violins in D Adagio Allegro Grave Allegro MARTIN CHALIFOUR, violin Stephanie Sant’Ambrogio, Rebecca Hang, CHEE-YUN, violin Ruth Lenz, Jun-Ching Lin STEPHANIE SANT’AMBROGIO, violin BACH SCOTT FAULKNER, bass Partita No. 3 in E major for Violin Solo: Prelude, Loure, Gavotte & Gigue RUTH LENZ, violin Jun-Ching Lin, violin MARK KOSOWER, cello JAMES WINN, harpsichord BACH Keyboard concerto No. 1 in D minor, BWV 1052 REBECCA HANG, violin Allegro Adagio JUN-CHING LIN, violin Allegro JON KIMURA PARKER, piano Jon Kimura Parker, piano - Orchestra

18 RENO CHAMBER ORCHESTRA PROGRAM NOTES ANTONIO VIVALDI this performance replaced by a second violin). In the first movement, the keyboard tends ntonio Vivaldi is remembered as one of the to take the leading role, including a lengthy Afathers of instrumental music and the master unaccompanied solo toward the end of the of the concerto for soloist(s) and orchestra – movement. Marked Affettuoso (tender or of which he wrote over 550, including over emotional), the second movement features only 250 for violin. Concertos for four violins, the three soloists, with the right hand of the both with Vivaldi and in the wider musical keyboardist taking the melodic lead, backed world, are few. Vivaldi’s best-known such work by the left hand and the two other soloists. is the Concerto in B minor, RV 580 from the The two violins are highlighted in the third collection L’estro armonico, Op. 3. The Concerto movement, a fast, charming gigue with in B-flat major, on the other hand, is a contrapuntal textures. comparative rarity, probably written in the 1740s and unpublished in Vivaldi’s lifetime. GEORG PHILIPP TELEMANN Both concertos, though, share instrumental virtuosity as well as the standard three-movement eorg Philipp Telemann was one of the most form, in which two lively movements frame a Gprolific composers of all time, with over more lyrical central section. 3,000 works to his credit, including over 1,000 church cantatas and 600 suites for orchestra. JOHANN SEBASTIAN BACH Telemann also composed around 100 concertos, some for friends or special occasions, and s is the case with his Sonatas and Partitas for others for the weekly Collegium musicum Aviolin, there is some mystery as to why Johann concerts that Telemann led in Frankfurt. Four Sebastian Bach composed the six Suites for solo concertos for four violins have come down to cello, which, like the violin works, date from us, each marked by great virtuosity. Like its around 1720. One of the noteworthy elements fellows, the Concerto for Four Violins in D of the Suite No. 5 in C minor is that it was major is in four concise movements, the first written in scordatura, or with retuned strings. and third slow, the second and fourth fast. In this case, the A string, the highest, is moved down to G (the work can also be performed JOHANN SEBASTIAN BACH with conventional tuning). The Suite No. 5’s opening Prelude starts with a slow section, ach’s six Sonatas and Partitas for solo violin exploiting the lowest part of the cello’s range, Bare generally regarded as among the greatest and continues with a fast fugue. The two music ever written for the instrument, featuring Gavottes are quite lively, and the concluding a dazzling range of tone colors, textures, and Gigue is a bit more serious and complex than moods. As one critic has written, “To the this lighthearted dance typically is. violinist they are a complete world of beauty, and a training ground whereon his powers From 1717 to 1723, Bach was employed by may always be proved and tested.” Perhaps the Prince Leopold of Anhalt-Köthen as director most famous section of the Partita No. 3 in of the Prince’s orchestra. Among Bach’s best- E major is the exciting opening Preludio, a known works from that period are the six fast, steady stream of sixteenth notes that Brandenburg Concertos, commissioned in 1719 became so well-known that Bach rearranged by, and named after, Christian Ludwig, Margrave the music for use in two of his cantatas. Next of Brandenburg. Because of the prominence of comes the Loure, a slow dance sometimes the keyboard part, the Brandenburg Concerto referred to as the “Spanish gigue.” The Gavotte No. 5 in D major is often regarded as the first en Rondeau is tuneful, alternating a folksy keyboard concerto ever written, even though tune with other episodes, and a sprightly there are also solo roles for violin and flute (in Gigue brings the work to a lively conclusion.

RENO CHAMBER ORCHESTRA 19 PROGRAM NOTES

While the Brandenburg Concerto No. 5 is figure, first played by soloist and orchestra seen as the first-ever keyboard concerto, Bach’s together. Over that figure, the keyboard spins first official keyboard concerto is the Concerto out a long, highly decorated melodic line. The in D minor. Its music, arranged differently, closing Allegro is structured much like the was used in a couple of Bach’s cantatas from opening movement, with an opening theme the late 1720s. Bach scholars speculate, though, that returns throughout. The soloist is again that the music might date from even earlier, in on full display, including another showy the form of a violin or organ concerto now cadenza. A final statement of the opening lost. The first movement begins with a powerful theme concludes a work that, in the words of theme, slightly varied versions of which return Richard D.P. Jones, “conveys a sense of huge regularly, with contrasting sections moving into elemental power.” different keys. The keyboard part includes a solo cadenza near the end. The slow movement, Program Notes by Chris Morrison in triple meter, opens with a repeating bass

20 RENO CHAMBER ORCHESTRA PROGRAM

THURSDAY, DECEMBER 27, 2018, Baroque by Candlelight 2: Perfect Pairings 5:00 P.M.

TRINITY EPISCOPAL CATHEDRAL BACH Italian Concerto Intrada Andante Presto Ya-Fei Chuang, solo piano VIVALDI Concerto for two Cellos & Orchestra Allegro Largo Allegro with Festival cellists: Clive Greensmith, Mark Kosower, Dmitri Atapine, Brian Schuldt w/orchestra: Aloysia Friedmann, Dustin Budish, Scott Faulkner BACH Brandenburg Concerto No. 6 for two Viola solos Allegro Adagio ma non tanto Allegro soloists: Che-Yen Chen, Aloysia Friedmann solo cello: Clive Greensmith

INTERMISSION VIVALDI piano Sonata in C major for violin and guitar (arr. Mak Grgi´c) YA-FEI CHUANG, Largo cello Allegro CLIVE GREENSMITH, largo e cantabile MARK KOSOWER, cello Andante (fast) Martin Chalifour, Mak Grgic´ DMITRI ATAPINE, cello cello VIVALDI BRIAN SCHULDT, Four Seasons “Winter” viola Allegro non molto CHE-YEN CHEN, Largo MARTIN CHALIFOUR, violin Allegro soloist: Chee-Yun, Violin ALOYSIA FRIEDMANN, viola solo cello: Brian Schuldt ´ guitar MAK GRGIC, SCARLATTI CHEE-YUN, violin Sonata “Aria” K32 & Sonata K159 for Solo Guitar BRIAN SCHULDT, cello soloist: Mak Grgic´, Guitar JUN-CHING LIN, violin BACH Concerto for two Violins in D minor, BWV 1043 RUTH LENZ, violin Vivace Largo ma non tanto Allegro soloists: Jun-Ching Lin, Ruth Lenz PROGRAM NOTES JOHANN SEBASTIAN BACH including an opening imitative canon for the two violas. The plaintive second movement, he Italian Concerto by Johann Sebastian dominated by the violas, leads into a swinging TBach, originally titled “Concerto in the finale in a jig-like rhythm. Italian Style,” first appeared in 1735 in the collection Clavier-Übung (Keyboard Exercises ANTONIO VIVALDI or Practice), Part 2. In this work, Bach essentially imitates the usual concerto format, lthough he is largely remembered today for in which the solo instrument interacts with a A his 500+ concertos, Antonio Vivaldi wrote larger ensemble, by contrasting the louder and a host of other works in most of the popular softer manuals, and different tone colors, of genres of his day. This includes over fifty the two-keyboard harpsichord for which the sonatas for violin and continuo accompaniment. work was written. The outer movements, in F The Violin Sonata in C Major was probably major, are lively and extroverted. In between, written around the same time as the twelve the slow movement moves into D minor, and sonatas that were published as Vivaldi’s Op. 2 is something of a song without words, with in 1709. The C major Sonata was dedicated to a highly-decorated melodic line accompanied Johann Georg Pisendel (1687-1755), one by chords. of the great violinists of his day, who led the Court Orchestra in Dresden. Like most of ANTONIO VIVALDI Vivaldi’s sonatas, this one takes the form of a sonata da chiesa, or church sonata, with ntonio Vivaldi composed a total of 27 four movements in a tempo sequence of slow- Aconcertos for solo cello, but only one for fast-slow-fast. two cellos. Like so many of his works, the Concerto in G minor for Two Cellos was ANTONIO VIVALDI probably written for the all-girl orchestra of the Ospedale della Pietà in Venice, with which ivaldi’s concertos known as The Four Seasons Vivaldi was associated for some four decades. Vare classical music bestsellers. Winter, the The tone color of the paired cellos and the final concerto, is the shortest and darkest of minor key help to account for the somber the four. Agitation is evident from the opening sound of some of the work. The cellos of the first movement, the rhythms suggesting announce their presence at the very beginning shivering people stomping their feet to stay of the energetic opening Allegro, which also warm. Trills in the violins imitate chattering features a particularly attractive interlude in the teeth, and arpeggios from the soloist the chill major mode. After a songful Largo of rather of winter winds. The mood lightens in the grave beauty, the work concludes with serene second movement. Pizzicato (plucked) an extroverted Allegro that features more notes from the violins imitate icy raindrops contrapuntal dialogue between the two soloists. (one didn’t see that much snow in the Venice of Vivaldi’s time), while the warmth of the JOHANN SEBASTIAN BACH soloist’s song offers comfort in front of the roaring fire. With careful footsteps on an icy he Brandenburg Concerto No. 6 in B-flat path, the final movement creeps in tentatively, Tmajor was perhaps the first of the Brandenburg but soon erupts in swirling winds. Concertos to be written. Scored for pairs of violas and gambas (usually cellos nowadays) DOMENICO SCARLATTI along with a continuo group of cello, bass and harpsichord – no violins – the Concerto omenico Scarlatti served at the Cappella No. 6 might have been performed at some DGiulia in the Vatican, the patriarchal chapel point by Prince Leopold’s orchestra, with the in Lisbon, and at the Spanish court in both Prince playing the gamba and Bach the viola Seville and Madrid. Although he composed (his favorite instrument to play in orchestral operas and liturgical pieces, he is remembered settings). The first movement lives up to the today mainly for his 555 keyboard sonatas. “moderato” in its title; the music has a steady, The D minor Sonata, K. 32 was composed stately pace, with rich, tightly-woven polyphony, in 1739. Sometimes referred to as “Aria,” it is

22 RENO CHAMBER ORCHESTRA PROGRAM NOTES

a melancholy work, light in texture and stately and Bach may have had them in mind in in tempo. Dating from the early 1750s, the writing this work. The first movement is in Sonata in C major, K. 159 carries the the ritornello form of the time, in which a nickname “La caccia,” or “The Hunt.” Its recurring theme in the orchestra alternates opening theme certainly resembles a hunting with passages for the soloists. Soloists and call, and the dance-like character of the music orchestra frequently trade or overlap phrases, is infectious. or perform in counterpoint with one another as equal partners. In the slow movement, the JOHANN SEBASTIAN BACH lovely opening theme in the violins turns up again later in a more contrapuntal form. A ike the Brandenburg Concertos, Bach’s variation of the ritornello form is employed in LConcerto for Two Violins in D minor the lively third movement, where the solo probably dates from his years at Anhalt-Köthen. violins lead off the ritornello statements and are Prince Leopold’s orchestra featured two well- featured in their own brilliant passages. known performers, Joseph Speiss and Martin Friedrich Marcus, as its principal violinists, Program Notes by Chris Morrison

RENO CHAMBER ORCHESTRA 23

PROGRAM

FRIDAY, DECEMBER 28, 2018, Duets and Quintets 3:00 P.M. SOUTH RENO UNITED BOCCHERINI METHODIST CHURCH Quintet in D major for Guitar and Strings “Fandango” G. 448 Allegro maestoso Pastorale Grave assai Fandango Mak Grgic´, Stephanie Sant’Ambrogio, Rebecca Hang, Dustin Budish, Brian Schuldt

HINDEMITH Sonata for Viola and Piano in F, Op. 11 No. 4 Fantasy Theme with Variations Finale Che-Yen Chen, Steven Vanhauwaert

MOZART Duo for Violin and Viola in G major , K. 423 (Allegro) First movement : Allegro Chee-Yun, Dustin Budish

SCHUMANN Quintet for Piano and Strings in E flat major Op. 44 Allegro brillante in Modo d’una Marcia ´ Scherzo MAK GRGIC, guitar Allegro ma non troppo STEPHANIE SANT’AMBROGIO, violin Jon Kimura Parker, Jun-Ching Lin, REBECCA HANG, violin Stephanie Sant’Ambrogio, Aloysia Friedmann, Mark Kosower DUSTIN BUDISH, viola BRIAN SCHULDT, cello CHE-YEN CHEN, viola STEVEN VANHAUWAERT, piano CHEE-YUN, violin MARK KOSOWER, cello JUN-CHING LIN, violin ALOYSIA FRIEDMANN, viola JON KIMURA PARKER, piano

RENO CHAMBER ORCHESTRA 25 PROGRAM NOTES LUIGI BOCCHERINI The work’s three movements are performed without break. Hindemith displays some Guitar Quintet No. 4 in harmonic daring in the first movement, which D major “Fandango” in its three minutes and 41 measures moves (c. 1790, 18 minutes) through something like ten different keys. Over a quiet piano, the viola introduces the uigi Boccherini was probably the most first theme. Soon the piano takes it up, and Limportant Italian composer of instrumental the two instruments exchange lead and music of the late eighteenth century. After accompaniment roles throughout. A short several years of touring as a cello virtuoso, in cadenza leads into the second movement, four his late twenties he moved to Madrid, where variations on a theme that Hindemith described he took a post as music director for Don as like a folk song. Starting in the major, Luis, younger brother of King Charles III. the music moves to the minor for the first There he wrote hundreds of chamber works – variation, in which the piano and viola lines his output includes over ninety string quartets overlap one another. The second variation and almost 140 quintets. is rhythmic, the third more lyrical, and the fourth builds to a climax. Then comes the At the request of a guitar-playing Spanish third movement, which encompasses three nobleman, the Marquis de Benavente, Boccherini more variations on that same theme as well arranged several of his string quintets for guitar as another main melody, heard at the start, and string quartet in the 1790s. The Guitar with a distinctive ascending scale. That folk Quintet No. 4’s opening Pastorale is gentle theme at different points takes off at breakneck and suggestive of the countryside around speed, emerges in a fugue, becomes a repeating Boccherini’s Madrid home. The guitar is ostinato (reprising a similar passage in the second frequently at the fore, but moves into the movement), and is the basis of a triumphant background for the second movement, where final statement by both instruments. Boccherini’s own instrument, the cello, takes a leading role. The short, slow third movement serves as an introduction to the Fandango WOLFGANG AMADEUS MOZART finale, one of Boccherini’s most brilliant Duo No. 1 in G major for Violin movements. Originally a folk dance in triple and Viola, K. 423 – Allegro meter, the Fandango was typically danced by (1783, 5 minutes) a couple playing castanets – you’ll soon find out how Boccherini evokes this! ozart’s friend Michael Haydn (the composer Mbrother of Franz Josef) had committed himself to writing a set of six duos for violin PAUL HINDEMITH and viola for Archbishop Colloredo of Salzburg, Viola Sonata No. 1 in F major, Op. 11/4 who had been up until two years earlier (1919, 16 minutes) Mozart’s employer. As the deadline approached, Haydn, in the midst of an extended illness, eacher, violist, composer, and conductor Paul realized that he couldn’t complete the commission THindemith was one of the most influential in time. So he turned to Mozart, who, during musicians of his day. He actually started as a a visit to Salzburg in 1783, quickly wrote a violin player, but at the age of twenty-four, in pair of duos for his friend. All six were the very year that he composed the present presented to the Archbishop as Haydn’s work. work, he made the switch to the instrument He was apparently unable to tell where with which he was identified for the rest of Haydn’s work ended and Mozart’s began. Both his life. One writer has described the Sonata instruments are equal partners throughout in F major as balanced “between classical the Duo No. 1, including the Rondeau third form, folk nostalgia, and modern harmony.” movement that combines charm and seemingly effortless virtuosity.

26 RENO CHAMBER ORCHESTRA PROGRAM NOTES ROBERT SCHUMANN A cheerful theme opens the first movement, leading into a dialogue between viola and Piano Quintet in E-flat major, Op. 44 cello that produces a second theme. These (1842, 28 minutes) ideas are developed and move rather far harmonically, before returning in their original obert Schumann tended to spend extended form. The second movement opens and closes amounts of time on particular genres. He R with what sounds like a funeral march, framing spent most of 1840, for instance, writing a furious central section. The third movement songs. 1841 was an orchestral year, and 1842 is similar in mood to the first, the scherzo was his year for chamber music. After composing theme interrupted twice for a lyrical canon and the three string quartets, Op. 41, Schumann a more extroverted theme. Exciting polyphonic moved on to the Piano Quintet, sketching writing highlights the final movement, building the work in just five days in September 1842. to a strong double fugue based on the opening Completing the first draft of the work on melodies of the first and fourth movements. October 12, Schumann further revised it before its first public performance, on January 8, Program Notes by Chris Morrison 1843 in Leipzig.

RENO CHAMBER ORCHESTRA 27 28 RENO CHAMBER ORCHESTRA PROGRAM

FRIDAY, DECEMBER 28, 2018, Chamber Music Through the Ages 7:00 P.M. SOUTH RENO UNITED BEETHOVEN METHODIST CHURCH String Quartet Op. 18 No. 2 Allegro Adagio cantabile Scherzo Allegro molto Quasi Presto Jun-Ching Lin, Ruth Lenz, Che-Yen Chen, Brian Schuldt

RAVEL Piano Trio in A minor Modéré Pantoum (Assez Vif ) Passacaille (très large) Final (animé ) Ya-Fei Chuang, Ruth Lenz, Clive Greensmith

INTERMISSION

VIVALDI Concerto for Guitar and Strings in D major Allegro Largo Allegro Mak Grgic´, Rebecca Hang, Martin Chalifour, Che-Yen Chen, Clive Greensmith

JUN-CHING LIN, violin BRAHMS Piano Trio No. 2 Op. 87 in C major RUTH LENZ, violin Allegro moderato Andante con moto CHE-YEN CHEN, viola Scherzo: Presto BRIAN SCHULDT, cello Finale: Allegro giocoso YA-FEI CHUANG, piano Steven Vanhauwaert, Chee-Yun, Dmitri Atapine CLIVE GREENSMITH, cello MAK GRGIC´, guitar REBECCA HANG, violin MARTIN CHALIFOUR, violin STEVEN VANHAUWAERT, piano CHEE-YUN, violin DMITRI ATAPINE, cello

RENO CHAMBER ORCHESTRA 29 PROGRAM NOTES LUDWIG VAN BEETHOVEN sureness and lucidity of a madman.” It was completed in September, and given its first String Quartet in G major, Op. 18/2 performance in January 1915. (1798-1800, 25 minutes) Ravel was born in a French Basque town to he six Quartets, Op. 18 mark Beethoven’s a Basque mother, and his devotion to this Tfirst efforts in a genre that was important heritage is evident here. The first movement’s to him throughout his composing career. opening theme – tentative, then passionate – Dedicated to Prince Joseph Franz Maximilian is said to be derived from the zortziko, a Lobkowitz, who had commissioned Op. 18 Basque dance with a 3-2-3 rhythm. This idea and was one of Beethoven’s most important is contrasted with a languorous second subject. patrons, the second in the series was perhaps After a short development dealing mostly the third in the set to be written. with the first theme, both melodies combine in the movement’s magical conclusion. The The first movement is playful, on occasion playful second movement is titled Pantoum, expressively lyrical. Perhaps because of the after a Malaysian poetic form of four-line graceful way in which the first violin opens stanzas in which the second and fourth lines the first movement and is answered by the of one stanza are the first and third of the other instruments, the Quartet has come to next (a form which Ravel supposedly adapted be known as the “Komplimentier-Quartett,” or here). The third movement is a passacaglia, “Compliments” Quartet. The second movement in which a melody in the bass serves as the holds a surprise: beginning and ending with basis of increasingly elaborate variations. In the a sweet, courtly melody largely given to the passionate Finale, five- and seven-beat patterns violin, the tender mood is briefly, suddenly alternate, a pattern often found in Basque interrupted by a faster section. Beethoven had music. Filled with brilliant arpeggios and used the same technique a couple of years virtuoso piano writing, the music builds to earlier in his Serenade, Op. 8, but both may a powerful coda. also be a reference to Haydn, Beethoven’s one-time teacher, who does something similar in the Finale of his Quartet, Op. 54/2. In ANTONIO VIVALDI the bright, unpredictable Scherzo, the four Guitar Concerto in D major, RV 93 instruments toss phrases back and forth. The (1729, 10 minutes) fourth movement is dominated by a three-note motif, traded between the cello and the rest n 1729, Antonio Vivaldi took a break from of the quartet. This phrase recurs in various Ihis duties at Venice’s Ospedale della Pietá, forms throughout a witty movement that the hospital and school for foundling children Beethoven described as “unbuttoned.” where he taught. He visited Vienna first, then moved on to Prague. There he met Count MAURICE RAVEL Johann Joseph von Wrtby, the royal governor of Bohemia. Either Wrtby was a lute player, Piano Trio in A minor or he had one in his employ – in either case, (1914, 27 minutes) Vivaldi wrote three lute works for him, including this Concerto. Its opening Allegro ritten just before Ravel set aside music to giusto contrasts a sprightly opening theme become a nurse’s aide and driver for the W and a more lyrical idea in the minor mode. In French army during World War I, the Trio in the lovely second movement, the lute spins A minor is one of the composer’s masterworks. out its line over sustained violin phrases and He had been considering writing such a piece pizzicato bass notes. The work concludes with for years. But by August of 1914, the War a lively Allegro, with a hint of the tarantella had begun, and Ravel was anxious to enlist in in its 6/8 rhythm. the army as he worked on the Trio “with the

30 RENO CHAMBER ORCHESTRA PROGRAM NOTES JOHANNES BRAHMS theme contrasts with the warm, lyrical second theme. Stormy music dominates as the main Piano Trio in C major, Op. 87 themes are developed. The passionate main (1880-82, 30 minutes) theme of the second movement, which becomes the basis of five variations, betrays Brahms’s rahms was the pianist in the first performance love of Hungarian music. One critic fancifully of the Trio in C major, on December 29, B described the third movement as representing 1882. He was quite pleased with his “the troubled dreams of one who … has composition, writing his publisher “You have sought distraction in Grimm’s German not yet had such a beautiful trio from me Mythology, and nodding asleep, is attacked by and very likely have not published its equal imps, trolls, nixies, and all the minute genii in the last ten years.” His friend Clara who infest fire, air, earth and water.” The Schumann, never one to flatter, also found work ends with a playful but purposeful Finale the Op. 87 to be “a splendid work” and “a which, save for one lyric interlude, maintains great musical treat.” its momentum to the end. Interestingly, all four movements begin with Program Notes by Chris Morrison the violin and cello playing in octaves. The noble stride of the first movement’s opening

RENO CHAMBER ORCHESTRA 31 32 RENO CHAMBER ORCHESTRA PROGRAM

SATURDAY, DECEMBER 29, 2018, A Continental Tour 11:00 A.M. SOUTH RENO UNITED BACEWICZ, GRAŽINA METHODIST CHURCH Quartet for Four Violins Allegretto allegro giocoso Andante tranquillo Molto allegro Stephanie Sant’Ambrogio, Chee-Yun, Ruth Lenz, Rebecca Hang

MOZART, W.A. Piano Trio K. 502 Allegro Larghetto Allegretto Jim Winn, Chee Yun, Brian Schuldt

KODÁLY, ZOLTÁN Serenade for Two Violins and Viola, Op. 12 Allegramente Sostenuto ma no troppo Lento ma non troppo Vivo Martin Chalifour, Jun-Ching Lin, Dustin Budish

TURINA, JOAQUÍN Piano Quartet in A minor, Op. 67 Lento STEPHANIE SANT’AMBROGIO, violin Andante mosso Vivo CHEE-YUN, violin Andante, Allgretto RUTH LENZ, violin Steven Vanhauwaert, Stephanie Sant’Ambrogio, Aloysia Friedmann, Mark Kosower REBECCA HANG, violin JIM WINN, piano BRIAN SCHULDT, cello MARTIN CHALIFOUR, violin JUN-CHING LIN, violin DUSTIN BUDISH, viola STEVEN VANHAUWAERT, piano ALOYSIA FRIEDMANN, viola MARK KOSOWER, cello

RENO CHAMBER ORCHESTRA 33 PROGRAM NOTES GRAŽYNA BACEWICZ The first movement is dominated by the phrases traded between the piano and strings Quartet for Four Violins right at the start. That same sort of interplay (1949, 12 minutes) is heard in the extended slow movement, a lovely, sometimes decorative song-without- omposer and violinist Gražyna Bacewicz was words. While the piano opens the third perhaps the first Polish woman composer to C movement and the three instruments work attract international attention. After studies in together as equal partners throughout, taking Poland and France, including work with the turns with the melodic lead and interacting in legendary Nadia Boulanger, Bacewicz spent counterpoint with one another, it is the violin three years as principal violinist of the Polish and cello that exchange phrases in the final Radio Orchestra. During World War II she moments before the strong closing chords. lived in Warsaw, where several of her pieces were premiered at secret, underground concerts. In subsequent years, her music attracted so ZOLTÁN KODÁLY much attention that she turned increasingly Serenade for Two Violins toward composing, making it her full-time and Viola, Op. 12 career in 1954 in the wake of a serious automobile accident. Unsurprisingly, many of (1919-20, 20 minutes) her compositions focus on the violin, including uring the period of the writing of his seven concertos and five sonatas. The Quartet DSerenade, Kodály got caught up in Hungarian for Four Violins is representative of her politics. In 1919, accused of Communist and neoclassical style. It is a relatively lighthearted anti-Hungarian sympathies, he lost his job piece, originally intended for her students, as deputy director of Budapest’s Academy of that surpasses that origin in its textural variety Music. Performances of his music were banned, and expressiveness. and he wrote little during that time. Composed in the wake of the Quartet No. 2, the Serenade WOLFGANG AMADEUS MOZART excludes from the usual string quartet only Piano Trio in B-flat major, K. 502 Kodály’s favorite instrument, the cello (for which he had written a remarkable solo sonata (1786, 22 minutes) in 1915). One of the noteworthy qualities of he year that saw the composition of this the Serenade is its light texture, largely free TTrio was one of the more successful and of a bass register. productive years of Mozart’s adult life. Not only was the opera The Marriage of Figaro The first movement is mercurial, with dance- given its premiere, but Mozart also composed like passages and many changes of tempo. The three of his greatest piano concertos (Nos. influence of Hungarian folk music is never far 23-25), the “Prague” Symphony No. 38, the away. Over a tremolo from the second violin, “Kegelstatt” Clarinet Trio, and a pair of piano the viola opens the slow second movement. trios. The first of those latter trios, K. 496, Soon the first violin takes the lead, moving was relatively simple and probably intended into a conversation with the viola. Expressive for amateur musicians. When he returned to markings in the score, like ridendo (laughing) the genre a few months later, Mozart had and disperato (desperate), are suggestive. As rethought the relationship between the three with the opening movement, dance rhythms instruments. In K. 502, seemingly designed and folk music are a big part of the exciting for professional musicians, one hears the two third movement. Béla Bartók was among the string instruments emerge with much greater Serenade’s fans, writing “This composition is independence, while the piano part is a brilliant a genuine, modern product of Hungarian virtuoso vehicle. culture. It is extraordinarily rich in melodies, with exotic characteristics influenced by the strong rubato of old peasant music.”

34 RENO CHAMBER ORCHESTRA PROGRAM NOTES JOAQUÍN TURINA After the first movement’s opening in unison strings, a rising and descending motive is heard Piano Quartet in A minor, Op. 67 in the violin. According to one commentator, (1931, 18 minutes) this mysterious opening evokes the old cante jondo or “deep song” of southern Spain. Likewise oaquín Turina’s music is a fascinating blend evocative of Spanish music, specifically the of Spanish and French influences. Born in J guitar, are the piano chords and pizzicato Seville, his early studies took place there and strings of the lively second movement. A more in Madrid. He then moved to Paris for a contemplative central section provides contrast. decade or so, soaking in the sounds of French The third movement opens with a passionate Impressionism. But then Turina returned to gesture from the violin. The piano, then the Spain, wanting to compose in a more consciously strings, take up bits of music from the first Spanish idiom. The Piano Quartet exemplifies movement. For the forceful conclusion, the this combination, with a frequent Spanish opening of the first movement is heard once flavor as well as a use of cyclical form – where again, this time in the major key. the same music appears in different forms in each movement – that Turina would have Program Notes by Chris Morrison learned about in France.

RENO CHAMBER ORCHESTRA 35

PROGRAM

SATURDAY, DECEMBER 29, 2018, Centennial Celebrations 3:00 P.M. SOUTH RENO UNITED MENDELSSOHN METHODIST CHURCH Piano Trio in C minor, Op. 66 Allegro energico e con fuoco Andante espressivo Scherzo: Molto allegro quasi presto Finale: Allegro appassionato Ya-Fei Chuang, Martin Chalifour, Dmitri Atapine

JONGEN Serenade Tendre for String Quartet (composed 1918) Rebecca Hang, Chee-Yun, Che-Yen Chen, Clive Greensmith

ELGAR String Quartet- Finale (composed 1918) Rebecca Hang, Chee-Yun, Che-Yen Chen, Clive Greensmith

INTERMISSION

FAURE Pavane (arr. for Guitar and strings) by Thomas Königs Mak Grgic´, Ruth Lenz, Rebecca Hang, Dustin Budish, Brian Schuldt and Scott Faulkner YA-FEI CHUANG, piano BRAHMS MARTIN CHALIFOUR, violin Quintet in G major Op. 111 for two violins, DMITRI ATAPINE, cello two Violas and Cello Allegro non troppo, ma con brio SCOTT FAULKNER, bass Adagio Un poco allegretto REBECCA HANG, violin Vivace, ma non troppo presto CHEE-YUN, violin Jun-Ching Lin, Ruth Lenz, Aloysia Friedmann, CHE-YEN CHEN, viola Dustin Budish, Mark Kosower CLIVE GREENSMITH, cello MAK GRGIC´, guitar RUTH LENZ, violin DUSTIN BUDISH, viola BRIAN SCHULDT, cello JUN-CHING LIN, violin ALOYSIA FIEDMANN, viola MARK KOSOWER, cello, RENO CHAMBER ORCHESTRA 37 PROGRAM NOTES FELIX MENDELSSOHN he served as director from 1925 until 1939. Although he wrote much music – his catalog Piano Trio No. 2 in C minor, Op. 66 includes 241 works – he is mostly remembered (1845, 30 minutes) today for his Symphonie Concertante of 1926 for organ and orchestra. During his time in edicated to composer Louis Spohr, the Trio London, he composed two Serenades for in C minor was composed during a break D string quartet. The first, Sérénade tendre, is in Mendelssohn’s extremely busy schedule. in three linked sections: the outer two sweetly Along with his directorship of the Gewandhaus melancholic, with pizzicato accompaniment, Orchestra in Leipzig, he was constantly in the central one more propulsive. demand as a conductor and pianist. But he finally managed a hiatus during 1844 and 1845, and composed a number of pieces. The EDWARD ELGAR C minor Piano Trio was the last of his chamber String Quartet in E minor, works that Mendelssohn saw published before Op. 83 – Allegro molto exhaustion and a series of strokes killed him at just thirty-eight. (1918, 9 minutes) nown largely for his large-scale orchestral and The opening movement opens with some choral works, Elgar had largely abandoned foreboding as a swirling motion arises from K chamber music until his early sixties, when the bass. The darkness is dispelled somewhat he settled in a country cottage, Brinkwells, in by a shapely second theme in the strings, and Sussex and – having overcome a depression these two moods are in constant contrast brought on by the effects of World War I, throughout the movement. The piano writing the deaths of many friends, and his wife’s ill- is particularly challenging; an excellent pianist, health – composed his Piano Quintet, Violin Mendelssohn probably wrote that part for Sonata, and String Quartet in quick succession. himself. After the first movement’s drama and Lady Elgar, the composer’s wife, described the instability, calm descends with the gentle, Quartet’s finale as “most fiery & sweeps along swinging rhythm of the beautiful second like galloping of stallions.” Completed on movement. The virtuosity of all three players Christmas Eve 1918, the movement is both is on display in the third movement, with its passionate and vivacious, with ever-evolving fast tempo and intricate interactions between textures from the four instruments. the instruments. As in the first movement, the finale juxtaposes energetic and more reflective passages. Here Mendelssohn employs a version GABRIEL FAURÉ of a sixteenth century Lutheran chorale tune. Pavane in F-sharp minor, Op. 50 Intoned initially by the piano, the theme (1887, 7 minutes) returns in a triumphant major key to conclude the work. auré’s Pavane, which he dismissed as “elegant Fbut not otherwise important,” ultimately became one of his most famous pieces. Like JOSEPH JONGEN its models from the sixteenth and seventeenth Sérénade tendre, Op. 61/1 century Spanish court, Fauré’s work is slow (1918, 8 minutes) and stately, in the manner of a processional. It was written for, and dedicated to, Élisabeth oseph Jongen was born in Liège, Belgium, de Caraman Chimay, Vicomtesse Greffulhe, a where he was admitted to the Conservatoire J n eminence in Parisian society into whose as a seven-year-old prodigy. He eventually circle Fauré had been admitted. Originally for became a professor there and, after a period in solo piano, the Pavane was later arranged for England as a refugee during World War I, at orchestra with optional choir. the Royal Conservatory of Brussels, where

38 RENO CHAMBER ORCHESTRA PROGRAM NOTES JOHANNES BRAHMS can invent all this must be in a happy frame of mind. It is the work of a man of thirty.” String Quintet No. 2 in The opening of the first movement comes G major, Op. 111 from sketches Brahms had made for a Fifth (1890, 30 minutes) Symphony. After the sweeping first theme from the cello over tremolos from the other he String Quintet No. 2 was written in instruments – perhaps the Fifth Symphony’s Tthe summer of 1890 at Bad Ischl, in the opening? – a second waltz-like idea arrives in Austrian Alps. Brahms planned for this Quintet the violas. Both themes are developed, and to be his last work. In December 1890 he when the first theme reappears in the sent his publisher some corrections to the recapitulation, the violin takes the theme into Quintet’s score along with a message: “With its highest register. Brahms’s favorite stringed this note you can take leave of my music, instrument, the viola, leads off the transparently- because it is high time to stop.” Fortunately, scored theme-and-variations second movement, he didn’t stick to this resolve, as his friendship which moves between major and minor in its with clarinetist Richard Mühlfeld inspired him four variations. Phrases from the first movement to further composition. recur in the third; duets from the violins and violas are a highlight of its central section. Despite its status as a proposed valedictory, Hints of the Hungarian czardas bring color there is little mournful or retrospective about and fire to the Finale. the G major Quintet. Brahms’s longtime friend Elizabeth von Herzogenberg remarked, “Reading Program Notes by Chris Morrison it was like feeling spring breezes … He who

RENO CHAMBER ORCHESTRA 39 40 RENO CHAMBER ORCHESTRA PROGRAM

SUNDAY, DECEMBER 30, 2018, Fantasy and Flair 3:00 P.M.

UNR NIGHTINGALE CONCERT HALL HAYDN Piano trio in G major, Hob. XV/25 “Gipsy” Andante Poco adagio Cantabile Rondo l’Ongarese: Presto Ya-Fei Chuang, Rebecca Hang, Brian Schuldt

REINECKE Piano Quintet in A major (1st movement) Lento ma non troppo Allegro con brio Ya-Fei Chuang, Chee-Yun, Jun-Ching Lin, Che-Yen Chen, Dmitri Atapine

PAGANINI Sonata for Violin and Guitar MS112 Op. 64 No. 1 in A major Introduzione: Larghetto-Rondoncino Chee-Yun and Mak Grgic´ GUITAR SOLOS GINASTERA Canto & Final from Sonata for Guitar BERNSTEIN “Somewhere/Tonight” from West Side Story MORRICONE The Good the bad and the Ugly YA-FEI CHUANG, piano featuring: Mak Grgic´ REBECCA HANG, violin INTERMISSION BRIAN SCHULDT, cello CHEE-YUN, violin SCHUMANN Fantasy Pieces Op. 73 for Cello and Piano JUN-CHING LIN, violin Zart und mit Ausdruck Lebhaft, leicht CHE-YEN CHEN, viola Rasch, und mit Feuer DMITRI ATAPINE, cello Clive Greensmith, Ya-Fei Chuang MAK GRGIC´, guitar BEETHOVEN Piano Quartet in E flat major for Piano & Strings Op. 16 CLIVE GREENSMITH, cello (adapted from the Piano/woodwind Quintet) Grave, Allegro ma non troppo JON KIMURA PARKER, piano Andante cantabile MARTIN CHALIFOUR, violin Rondo: Allegro ma non Jon Kimura Parker, Martin Chalifour, ALOYSIA FRIEDMANN, viola Aloysia Friedmann, Clive Greensmith PROGRAM NOTES FRANZ JOSEF HAYDN 200 works that include guitar. Part of a collection of eighteen pieces called Centone di he Trio No. 39 in G major, written toward sonate, or “medley of sonatas,” Op. 64 includes Tthe end of Franz Josef Haydn’s second trip the first six of those eighteen. In the Sonata to England in 1794-5, was one of a set of in A major, Op. 64/4, an opening Adagio three trios that Haydn wrote for, and dedicated cantabile, which combines a sweet violin line to, Rebecca Schroeter. A widow, Schroeter and discreet guitar accompaniment, is followed seems to have fallen in love with the married by a charming Rondo. Haydn, and the two spent much time together while Haydn was in England. The first ALBERTO GINASTERA movement of the Trio No. 39 is a set of variations on a simple theme that is initially lberto Ginastera, one of South America’s presented by the piano and violin, and moves Amost important composers, wrote his only between major and minor as it is developed. guitar work, the 1976 Sonata, for Carlos The violin is highlighted in the central section Barbosa-Lima, who described its third movement of the lovely second movement. After two Canto as “romantic,” beginning with “big, relatively slow movements, the third moves at dramatic chords” and “a certain playful nature,” breakneck speed. Haydn had experienced gypsy and the Finale as having “an overall feeling of music at first hand during his decades working a Baroque toccata” along with hints of for the Eszterházy family at their Hungarian Argentinian dance music. palace, and incorporates that style here in fiery music that has made this the most popular of LEONARD BERNSTEIN Haydn’s 45 trios. translation of Shakespeare’s Romeo and CARL REINECKE A Juliet to the gangs and streets of New York, the 1957 musical (and 1961 film)West Side arl Reinecke first gained notice as a pianist. Story features some of Leonard Bernstein’s CHe was a well-known recitalist throughout best-known music. Two of its most famous Europe, served as court pianist for King songs are duets for Maria and Tony, “Somewhere” Christian VIII of Denmark, and was hired and “Tonight.” by Franz Liszt to be the piano teacher for his daughter Cosima (future wife of Richard ENNIO MORRICONE Wagner). In 1860, Reinecke became a faculty member, and eventually director, at the Leipzig nnio Morricone is one of the most prolific of Conservatory, where his many famous students Efilm composers, having provided scores for included Grieg, Janácˇek, Delius, and Arthur over 500 films and television programs. Some Sullivan. He was also conductor of Leipzig’s of his most iconic music was written for Gewandhaus Orchestra for many years. After “spaghetti westerns” directed by Sergio Leone, a slow introduction, the first movement of his including 1966’s The Good, the Bad and the Piano Quintet in A major, Op. 83 is bright Ugly. In this famous score, Morricone sets the and lively, rather Mendelssohn-like in its mood in a variety of ways, employing a two- combination of Classical proportions and note phrase that has been likened to a Romantic energy. coyote’s howl as well as whistling, cracking whips, even gunfire. NICCOLÒ PAGANINI ROBERT SCHUMANN long with his reputation as one of the greatest Aviolinists of all time, Niccolò Paganini was ritten in just two days, the Fantasy Pieces, a highly accomplished guitarist. As he once WOp. 73 by Robert Schumann were originally put it, “The violin is my mistress, but the conceived for clarinet and piano, although he guitar is my master.” Paganini wrote some indicated that the clarinet part could be taken by either viola or cello. The first piece, marked

42 RENO CHAMBER ORCHESTRA PROGRAM NOTES

“delicately and with expression,” begins begins speeds as the piano presents the main themes, in a dreamy minor key, but manages to resolve with the strings subsequently taking each up. itself in a somewhat more hopeful major In the dramatic development of those themes, mode. This leads into the energetic, playful the busy piano accompanies a series of second piece, which carries the designation dialogues between the other instruments. “lively, light.” More frenetic is the third piece, Both the second and third movements employ “quick and with fire,” a brilliant conclusion rondo form, in which repetitions of a main to the set. theme are separated by contrasting episodes. In the slow second, the increasingly-elaborate LUDWIG VAN BEETHOVEN main theme is introduced by the piano, with the other episodes featuring, respectively, a erhaps inspired by Mozart’s Quintet for violin-cello duet and a viola solo. Perhaps Ppiano and winds from 1784, Ludwig van inspired by the presence of the French horn Beethoven wrote a work in the same key, in the original, Beethoven evokes the hunting E-flat major, and for the same instruments horn in the lively bounce of the third a dozen years later. Thinking of practical issues movement’s main theme, which, aside from a like performance possibilities and sheet music brief minor key outburst, maintains its high sales, Beethoven also rearranged the work as spirits to the end. a Piano Quartet in E-flat major. After an emphatic slow introduction, the first movement Program Notes by Chris Morrison

RENO CHAMBER ORCHESTRA 43 PROGRAM

SUNDAY, DECEMBER 30, 2018, Undiscovered Grieg 7:00 P.M. UNR NIGHTINGALE CONCERT HALL CLARKE, REBECCA Piano Trio in E-flat minor Moderato ma appassionato Andante molto semplice Allegro vigoroso James Winn, Stephanie Sant’Ambrogio, Brian Schuldt

GRIEG, E. String Quartet in G minor, Op. 27 Un poco andante, Allegro molto ed agitato Romanze: Andantino Intermezzo: Allegro molto marcato, Piu vivo e scherzando Finale: Lento, Presto al saltarello Martin Chalifour, Jun-Ching Lin, Che-Yen Chen, Mark Kosower

INTERMISSION

BACH, CARL PHILLIP EMMANUEL Quartet for Flute (violin), Viola, Cello and Piano, WQ 94 Allegretto Sehr langsam und ausgehalten Allegro di molto James Winn, Ruth Lenz, Aloysia Friedmann, Brian Schuldt JAMES WINN, piano STEPHANIE SANT’AMBROGIO, violin DVOŘÁK Piano Quartet in E flat major, Op. 87 BRIAN SCHULDT, cello Allegro con Fuoco Lento MARTIN CHALIFOUR, violin Allegro moderato, grazioso CHE-YEN CHEN, viola Finale: Allegro, ma non troppo Steven Vanhauwaert, Chee-Yun, JUN-CHING LIN, violin Rebecca Hang, Dmitri Atapine MARK KOSOWER, cello RUTH LENZ, violin ALOYSIA FRIEDMANN, viola STEVEN VANHAUWERT, piano CHEE-YUN, violin REBECCA HANG, viola DMITRI ATAPINE, cello

44 RENO CHAMBER ORCHESTRA PROGRAM NOTES REBECCA CLARKE All four movements are tied together by the use of a melody from Grieg’s song “Spillemaend” Piano Trio in E-flat minor (“Fiddlers,” Op 25/1), a phrase from which, (1921, 25 minutes) tonic to seventh below to fifth below, is also familiar from the opening of his Piano omposer and violist Rebecca Clarke was the Concerto. This music is heard throughout first female member of the Queen’s Hall C the first movement, both in the dramatic Orchestra, and one of Britain’s first female slow introduction and in the fiery main body. professional orchestral players. She subsequently The succeeding Romanze features rich performed as a solo violist and in chamber harmonies, including many double-stops ensembles. Her music, much of it centered from the ensemble. The “Fiddlers” theme can on the viola, was mostly written in the 1920s be heard in the more passionate outbursts of and the period 1939-42. that movement, as well as at the beginning In 1919, Clarke’s Viola Sonata, perhaps her of the Intermezzo. The motif travels through most famous work, was runner-up in a the quartet, from violin down to cello, in the composition competition sponsored by her opening of the Finale, which Grieg called a neighbor, Elizabeth Sprague Coolidge. Two saltarello, a vigorous Italian dance. years later she entered the same competition with her Piano Trio, and again came in CARL PHILIPP EMANUEL BACH second. All three movements of the Trio share Quartet in D major, Wq. 94 a melody, the insistent piano theme that opens the first movement. After this idea (1788, 15 minutes) moves to the cello and is developed, a second, arl Philipp Emanuel Bach was the fifth calmer theme arises in the piano. That Cchild, and second surviving son, of Johann recurring idea also leads off the slow movement Sebastian Bach. Bridging the Baroque era of in the violin, taking on the feeling of a folk his father and the succeeding Classical and song as the movement progresses. Both of the Romantic eras, C.P.E. served as court musician main ideas from the first movement recur in for Frederick the Great of Prussia for over two the powerful third. decades, then in 1768 succeeded his godfather Telemann as music director in Hamburg. His EDVARD GRIEG musical style, known as empfindsamer Stil or String Quartet in G minor, Op. 27 “sensitive style,” was marked by mercurial changes in tempo and mood. Composed in (1877-78, 34 minutes) the last year of his life, the three quartets, Wq. rom 1874 into 1877, Grieg was overwhelmed 93-95, were perhaps Bach’s last instrumental Fwith teaching and conducting duties, as well works. The first movement of the D major as the completion of major compositions like Quartet is charming, with stately dotted his famous music for Ibsen’s Peer Gynt. In the rhythms. A brief move into the minor leads summer of 1877, he and his wife Nina headed into the calm second movement, with its for the countryside, settling first at a farm in interesting harmonic turns. Among the the Hardanger country of western Norway, surprises in the playful finale are several then moving to a guesthouse in the nearby Generalpausen, unexpected rests for the village of Lofthus. Grieg wrote his Quartet in ensemble, and an amusingly abrupt ending. a small log hut he had built there specifically for composing. (The hut now serves as a Grieg museum.) He thought highly of his new work, writing that “It strives towards breadth, soaring flight and above all resonance for the instruments for which it is written.”

RENO CHAMBER ORCHESTRA 45 PROGRAM NOTES ANTONÍN DVORÁKˇ piano quartet – and you promised it to me a long time ago! What’s the matter with it?” Finally, in Piano Quartet in E-flat major, Op. 87 July 1889, Dvoˇrák started the Quartet in E-flat (1889, 34 minutes) major, completing it in just a few weeks.

voˇrák’s first Piano Quartet (in D major, The first movement begins with an assertive DOp. 23) was written in 1875. Because of his idea that turns up in many guises as the music subsequent fame, even Dvoˇrák’s early works were progresses. The movement is melodically rich, very much in demand. Simrock, who became with a series of broad, flowing ideas and just Dvoˇrák’s publisher on the recommendation a few shadows cast by minor key interludes. of Johannes Brahms, was given the opportunity Equally profligate melodically, the lovely second to publish all of Dvoˇrák’s new works, and other movement only erupts passionately on a couple firms vied for the earlier compositions. The first of occasions, otherwise maintaining a peaceful, Piano Quartet was published in 1880 by the sustained atmosphere. The third movement is Schlesinger firm, and a few years later Simrock dominated by a sweet, genial minuet theme with requested of Dvoˇrák both a new piano quartet a hint of folk song about it. And the finale is and a second set of the highly successful Slavonic aggressive, with small hints of menace quickly Dances. The Dances appeared in 1887, but there dispelled by more playful music. was still no quartet. Simrock wrote to Dvoˇrák in mid 1888, “I should like to have from you a Program Notes by Chris Morrison

46 RENO CHAMBER ORCHESTRA RENO CHAMBER ORCHESTRA 47 PROGRAM

MONDAY, DECEMBER 31, 2018, Piano Showcase 3:00 P.M. UNR NIGHTINGALE CONCERT HALL MOZART Sonata for Piano four-hands in F major, K 497 Adagio Allegro di molto Andante Allegro James Winn, Steven Vanhauwaert

CHOPIN, F. Ballades No. 1 and No. 4 JOPLIN, SCOTT Solace PETERSON, OSCAR Blues Etude Jon Kimura Parker

INTERMISSION

SAINT-SAËNS Mazurkas No. 1, 2, 3 Steven Vanhauwaert

RAVEL Ondine James Winn

LISZT Reminiscences of (Mozart’s) Don Juan Ya-Fei Chuang

MILHAUD Scaramouche Ya-Fei Chuang and Jon Kimura Parker

JAMES WINN, piano STEVEN VANHAUWERT, piano JON KIMURA PARKER, piano YA-FEI CHUANG, piano

48 RENO CHAMBER ORCHESTRA PROGRAM NOTES WOLFGANG AMADEUS MOZART SCOTT JOPLIN olfgang Amadeus Mozart was a youth when ritten a decade after his first hit, the Whe wrote, for himself and his sister Nannerl, W“Maple Leaf Rag,” “Solace,” subtitled “A the first three of his sonatas for piano four- Mexican Serenade,” is one of Scott Joplin’s hands. There is a well-known painting from 44 pieces in ragtime style. Its left-hand rhythm around 1780 of Mozart and Nannerl sitting is perhaps reminiscent less of Mexican music at the keyboard together, their father Leopold than it is the Cuban habañera or Argentinian leaning against the instrument with violin in tango. This lovely piece calls to mind the hand, and a painting of their recently-deceased Joplin quotation used as the epigraph to E.L. mother hanging on the wall behind them. Doctorow’s novel Ragtime: “Do not play this In August 1786, Mozart wrote his next four- piece fast. It is never right to play Ragtime fast.” hands work, the Sonata in F major, K. 497. Unlike those early works, which emphasize OSCAR PETERSON high spirits and entertainment, this F major Sonata is substantial and often dramatic. The ubbed the “Maharaja of the keyboard” by first movement begins with an extended, delicate DDuke Ellington, Montreal-born Oscar slow introduction. When the faster main body Peterson is one of jazz’s great pianists, with of the movement arrives, the music is powerful, over 200 recordings spanning his six-decade often residing in a minor key. Calm descends career. “Blues Etude” is the title track from with the Andante, and the third movement, a his 1966 album made with bassists Ray Brown rondo, is playful, with an easy swing and just and Sam Jones and drummer Louis Hayes. a few passing storm clouds. This exciting tune became a regular part of Peterson’s live performances. FRÉDÉRIC CHOPIN CAMILLE SAINT-SAËNS rédéric Chopin’s Ballade No. 1 in G minor, FOp. 23 – described by James Huneker as amille Saint-Saëns, one of the finest pianists “the odyssey of Chopin’s soul” – was written Cof his era, dedicated each of his Three in 1831, shortly after Chopin moved from Mazurkas to female members of the aristocracy. Poland to Vienna. Robert Schumann relates No. 1 in G minor, Op. 21 (1862) was dedicated that, on telling Chopin that this Ballade was to Princess Pauline de Metternich-Winneburg, his favorite, he replied, “I am happy to hear No. 2 in G minor, Op. 24 (1871) to Comtesse this, since I too like it most and hold it de Nesselrode, and No. 3 in B minor, Op. 66 dearest.” After a short, mysterious introduction, (1882) to Madame la Comtesse Emmanuela two main themes are presented – the first Potocka. Saint-Saëns’s mazurkas don’t starts simply but grows agitated, and the particularly resemble Chopin’s, but are closer second is lyrical. Both are elaborated on, with to the spirit of French salon music of the time. poetic and virtuoso passages, before a big chord introduces the fiery final measures. MAURICE RAVEL

After a brief, haunting introduction, the first aspard de la nuit is a suite by Maurice main theme of Chopin’s Ballade No. 4 in GRavel, each of its three movements based F minor, Op. 52 appears and is developed on a poem from Aloysius Bertrand’s 1836 with counterpoint and elaborate decorations. collection of writings and drawings depicting Another theme emerges, increasing the drama all manner of imps, trolls, and nightmares. as it and the opening theme interact. Toward “Ondine,” the first movement, tells of the the end, a series of powerful chords, and five water nymph who seduces unsuspecting further quiet chords, lead to a fast and stormy victims with her song to visit her kingdom at coda. For pianist John Ogdon, the Ballade the bottom of a lake. One can practically No. 4 is “the most exalted, intense and sublimely hear the ebb and flow of the water in Ravel’s powerful of all Chopin’s compositions ... It elaborate piano writing. is unbelievable that it lasts only twelve minutes, for it contains the experience of a lifetime.”

RENO CHAMBER ORCHESTRA 49 PROGRAM NOTES FRANZ LISZT DARIUS MILHAUD

n his Réminiscences de Don Juan, Franz arius Milhaud derived Scaramouche from ILiszt employs themes from Mozart’s opera Dincidental music he wrote in the mid 1930s Don Giovanni. The piece opens dramatically for two theatrical productions. The first by combining the Commendatore’s threats to movement, with its bustling, jazzy feeling and Don Giovanni in the Act II graveyard scene, nursery song-like tunes, comes from music and the opera’s final scene in which the for a children’s version of Moliérè’s Le medécin “stone guest” takes Don Giovanni to hell. volant (The Flying Doctor) presented by the Then comes perhaps the opera’s most famous Théâtre Scaramouche company. The lullaby- tune, Don Giovanni’s and Zerlina’s love duet like second movement derives from the “Là ci darem la mano,” providing a charming overture to a play on Simón Bolívar. Milhaud contrast. The pianistic fireworks conclude returns to the Théâtre Scaramouche music in with the addition of Don Giovanni’s Act I aria the third movement, with its playful rumba- “Fin ch’han del vino.” Legendary pianist- like rhythm. composer Ferruccio Busoni wrote that the Réminiscences have “an almost symbolic Program Notes by Chris Morrison significance as the highest point of pianism.”

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Piano Showcase MONDAY, DECEMBER 31, 2018, New Year’s Night 7:00 P.M. MOZART UNR NIGHTINGALE CONCERT HALL Sonata for Piano four-hands in F major, K 497 MOZART Adagio Overture from The Marriage of Figaro, arr. for Four Cellos Allegro di molto Mark Kosower, Clive Greensmith, Andante Dmitri Atapine, Brian Schuldt Allegro James Winn, Steven Vanhauwaert PIAZZOLLA L’Histoire du Tango, for violin and guitar Bordel (1900) CHOPIN, F. Cafe (1930) Ballades No. 1 and No. 4 Nightclub (1960) JOPLIN, SCOTT Martin Chalifour, Mak Grgic´ Solace SAINT-SAËNS PETERSON, OSCAR Piano Trio No. 2 in E minor, Op. 92 Blues Etude Allegro non troppo Allegretto Jon Kimura Parker Andante con moto Grazioso poco allegretto INTERMISSION Allegro Steven Vanhauwaert, Jun-Ching Lin, Clive Greensmith SAINT-SAËNS Mazurkas No. 1, 2, 3 INTERMISSION Steven Vanhauwaert BACEWICZ “Narration”, from Concerto for Four Cellos RAVEL Dmitri Atapine, Brian Schuldt, Ondine Mark Kosower, Clive Greensmith James Winn REBECCA HANG, violin RUTH LENZ, violin MENDELSSOHN Octet for Strings in E flat major, Op. 20 LISZT CHE-YEN CHEN, viola Allegro moderato ma con fuoco Reminiscences of (Mozart’s) Don Juan Andante BRIAN SCHULDT, cello Scherzo: Allegro leggerissimo Ya-Fei Chuang JUN-CHING LIN, violin Presto Chee-Yun, Stephanie Sant’Ambrogio, DUSTIN BUDISH, viola MILHAUD Rebecca Hang, Ruth Lenz, Che-Yen Chen, Scaramouche MARK KOSOWER, cello Dustin Budish, Dmitri Atapine, Brian Schuldt Ya-Fei Chuang and Jon Kimura Parker STEPHANIE SANT’AMBROGIO, violin DMITRI ATAPINE, cello MARTIN CHALIFOUR, violin STEVEN VANHAUWAERT, piano CLIVE GREENSMITH, cello

52 RENO CHAMBER ORCHESTRA PROGRAM NOTES WOLFGANG AMADEUS MOZART all those unlucky enough to hear it. I shall need the whole summer to perpetrate this Overture to The Marriage atrocity, one must have a little fun somehow.” of Figaro, K. 492 Despite his self-disparaging remarks, Saint- (1786, 4 minutes) Saëns expended much time and energy on his Trio No. 2, which some have called the greatest n his first collaboration with his great librettist French piano trio of the nineteenth century. ILorenzo da Ponte, Mozart created the opera Le nozze di Figaro in just six weeks. It tells In an unusual five-movement layout, the Trio’s the tangled story of Count Almaviva’s valet first movement begins with a somber theme and former barber, Figaro, who is to marry from the violin and cello. The piano’s the Countess’s maid, Susanna. But the Count accompanying chords become more elaborate also wishes to seduce Susanna, while the as the music builds in intensity. When it finally Countess is pursued by the page Cherubino. arrives, the second melody is lyrical and lovely. The Overture’s bustling opening suddenly These themes are developed in passionate erupts in high spirits and maintains that music that ends with a surprising coda. The joyful momentum to the end. second movement begins delicately, but soon turns more ominous, with brilliant piano writing that the composer described as “black ASTOR PIAZZOLLA with notes and black in mood.” Opening Histoire du Tango with the piano, followed by cello and violin, (1986, 20 minutes) the third movement is introspective, as the three instruments exchange the main theme stor Piazzolla was almost single-handedly with one another. A waltz-like fourth movement Aresponsible for making the tango, once a is followed by a finale that begins quietly with regional folk dance, famous all over the world. the piano, but soon moves into a fugue begun Histoire du Tango, originally for flute and by the violin, answered by piano and cello. guitar, tells in miniature the history of the The first of the two main themes takes over dance. Tango was initially largely found in for the work’s brilliant conclusion. brothels, and Piazzolla wrote that his first movement, “Bordel 1900,” depicts “the good- natured chatter of the French, Italian, and GRAŽYNA BACEWICZ Spanish women who peopled those bordellos Quartet for Four Cellos – Narrazione as they teased the policemen, thieves, sailors, (1963, 7 minutes) and riffraff who came to see them.” In “Café 1930,” the tango has become increasingly ee the notes for the December 29, 11:00 a.m. popular as well as “more musical, and more S Festival concert for more on the life of Polish romantic … with new and often melancholy composer-violinist Gražyna Bacewicz. As is harmonies.” By the time of “Night-Club 1960,” mentioned there, Bacewicz was seriously injured the “bossa nova and the new tango are moving in a car accident in 1954 that put a definitive to the same beat.” In the final movement, end to her violin career. A series of commissions “Concert d’Aujourdhui 1990,” “Bartók, for new compositions quickly followed, Stravinsky, and other composers reminisce to including the Quartet for Four Cellos. The the tune of tango music.” first of its two movements, Narrazione, is dark, colorful, and intense. CAMILLE SAINT-SAËNS Piano Trio No. 2 in E minor, Op. 92 FELIX MENDELSSOHN (1892, 35 minutes) Octet in E-flat major, Op. 20 (1825, 30 minutes) n June 1892, Saint-Saëns wrote to his friend ICharles Lecocq, “I am working quietly away endelssohn’s Octet, composed when he at a trio which I hope will drive to despair Mwas sixteen, may be the greatest work ever written by a teenager. He indicated his

RENO CHAMBER ORCHESTRA 53 PROGRAM NOTES ambition in the score: “This Octet must be The composer’s sister Fanny shared her played by all the instruments in symphonic brother’s vision of the third movement: “the orchestral style. Pianos and fortes must be whole piece is to be played staccato and strictly observed and more strongly emphasized pianissimo ... the trills passing away with the than is usual in pieces of this character.” quickness of lightning ... one feels so near to Encompassing nearly half of the work’s the world of spirits, carried away in the air, duration, the first movement opens with a half inclined to snatch up a broomstick and theme that soars through nearly three octaves follow the aerial procession ... and at the before gently returning to ground. Behind it end, all has vanished.” The bravura fourth is what has been called a “vibrant background,” movement opens with a fast-paced fugue that including tremolos, syncopated chords, and betrays Mendelssohn’s study of the music of mild dissonances. This melody and a flowing Bach. A broad contrasting theme emerges, as second theme provide the basis of a complex do phrases from the second and third development. We enter a more tranquil world movements. Mendelssohn described the Octet with the second movement, in the 6/8 rhythm as “my favorite of all my compositions,” of a siciliano. An energetic central section leads adding, “I had a most wonderful time in the to a return of the song-like opening music. writing of it!”

Program Notes by Chris Morrison

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TUESDAY, JANUARY 1, 2019, A Viennese New Year 2:00 P.M. TRINITY EPISCOPAL CATHEDRAL MOZART Divertimento for Strings in D major K. 136 Allegro Andante Presto Rebecca Hang, Ruth Lenz, Che-Yen Chen, Brian Schuldt

BRAHMS Liebeslieder Waltzes Op. 52 (arr. Hermann) Jun-Ching Lin, Rebecca Hang, Dustin Budish, Mark Kosower, Scott Faulkner

BEETHOVEN Triple Concerto for Violin, Cello and Piano (1st movement) (arr. by Reinecke) Ya-Fei Chuang, Stephanie Sant’Ambrogio, Mark Kosower

INTERMISSION

KREISLER, F. Caprice Viennois, arranged by Eric Leidzén

REBECCA HANG, violin Liebesfreud (Love’s Joy) arranged by Eric Leidzén RUTH LENZ, violin Ruth Lenz, Rebecca Hang, Dustin Budish, Dmitri Atapine, Scott Faulkner CHE-YEN CHEN, viola BRIAN SCHULDT, cello SCHUBERT Trout Quintet (composed 1819) JUN-CHING LIN, violin Allegro vivace Andante DUSTIN BUDISH, viola Scherzo: Presto MARK KOSOWER, cello Andantino, Allegretto Allegro guisto SCOTT FAULKNER, bass Jon Kimura Parker, Martin Chalifour, YA-FEI CHUANG, piano Aloysia Friedmann, Clive Greensmith, Scott Faulkner STEPHANIE SANT’AMBROGIO, violin DMITRI ATAPINE, cello JOHN KIMURA PARKER, piano MARTIN CHALIFOUR, violin ALOYSIA FRIEDMANN, viola CLIVE GREENSMITH, cello

RENO CHAMBER ORCHESTRA 55 PROGRAM NOTES WOLFGANG AMADEUS MOZART LUDWIG VAN BEETHOVEN Divertimento in D major, K. 136 Triple Concerto in C major, (1772, 13 minutes) Op. 56 – first movement (1803-4, 18 minutes) his Divertimento is one of three works, TK. 136-138, sometimes referred to as the n preparing the Concerto for Piano, Violin “Salzburg Symphonies.” Mozart wrote quite Iand Cello for printing, Beethoven wrote to his a number of pieces titled Divertimento, but publisher that the work was “really something they were usually works of six movements or new.” While there had been works for multiple more. Likewise, his symphonies were typically soloists before – the concerto grosso of the in four movements, and composed for an Baroque era, and the sinfonia concertante in orchestra including winds, not strings alone the decades between then and Beethoven’s as in K. 136-138. Mozart and his father made time – they had seldom been on the scale of three trips to Italy during the years 1769 Beethoven’s work. This arrangement of the through 1773, They departed for the third Concerto’s first movement for trio without in October 1772, and scholars speculate that orchestra was made by Carl Reinecke. The these three Divertimenti, in the three-movement movement begins on a note of quiet portent form then standard in Italy, were composed that soon builds into an extroverted first for possible performance during that sojourn. theme. The second theme, more lyrical but K. 136’s sparkling opening Allegro is followed still with some underlying anxiety in the by a lovely slow movement. Contrapuntal accompaniment, is followed by another playful textures are a highlight of the fast-paced finale. idea. As the leisurely development section proceeds, the music turns grand and fiery. All JOHANNES BRAHMS the melodies are then recapitulated before the Liebeslieder Waltzes, Op. 52 movement’s end. (1868, 25 minutes) FRITZ KREISLER o one knows exactly why Brahms wrote Liebesleid and Liebesfreud Nthe Liebeslieder (Love Song) Waltzes. They (c. 1910, 8 minutes) may be a reflection of the composer’s love for Clara Schumann, wife of Robert. They were he Austrian violinist Fritz Kreisler, a prodigy probably also to some degree Brahms’s homage Twho won the Premier Grand Prix de Rome to Franz Schubert, whose twenty Ländler gold medal at age twelve, was one of the for piano Brahms had recently edited for most beloved musicians of the twentieth publication, and to Johann Strauss Jr., the century, famous for his sweet instrumental “Waltz King,” whose works Brahms admired. tone, vibrato, and expressive phrasing as heard Originally written for small choir and piano in a multitude of live appearances, broadcasts, four-hands, the Waltzes feature texts drawn and recordings. Among the most popular of from Georg Friedrich Daumer’s Polydora, his compositions are Liebesleid (“Love’s Sorrow”) a collection of folk songs described by the and its companion Liebesfreud (“Love’s Joy”), publisher as dealing “with aspects of love, written sometime during the first decade of serious, humorous, ironical, sincere.” Brahms the twentieth century. They are tuneful, just a probably designed the Waltzes to be performed little sentimental, and remain audience favorites. in an informal home setting, and assumed that performers would pick and choose from, and re-order, the eighteen selections as they wished. Friedrich Hermann’s arrangement for strings, heard in this performance, dates from 1889.

56 RENO CHAMBER ORCHESTRA PROGRAM NOTES FRANZ SCHUBERT published until the year after his death, became his best-known chamber work and one of his Piano Quintet in A major, most popular compositions. D. 667 “Trout” (1819, 36 minutes) The lively opening movement accounts for around one-third of the Quintet’s total length. n the summer of 1819, Schubert and his An ascending figure in the piano becomes one Ifriend Johann Michael Vogl, a baritone at of the main ideas, all of which are worked out the Vienna Court Opera, took a holiday trip at generous, melodic length. The lyrical second to northern Austria. At the river town of movement features three melodies that are not Steyr, Vogl introduced Schubert to the local so much developed as recast in different keys musical luminaries. Among them was Sylvester and arrangements. The shortest of the work’s Paumgartner, a mining executive and amateur five movements, the central Scherzo is lively cellist. As guests at the Paumgartner home, and rhythmic. Then we move to “Die Forelle,” Schubert and Vogl performed a sampling of as Schubert opens the fourth movement with Schubert’s songs. Paumgartner’s favorite was the song’s main theme, followed by six “Die Forelle” (The Trout), which tells the tale variations. In the first three, the melody isn’t of a fish captured by a wily fisherman. changed much. By Variation 4, it has evolved Paumgartner asked Schubert to write a quite a lot. At the end the tune reappears in chamber work based on the melody of “Die its original guise. The final movement is Forelle,” employing a rather unusual ensemble lengthy but, again, melodically generous, with (piano, violin, viola, cello, and bass) that an occasional “gypsy” feeling and light, Paumgartner had encountered in a work by constantly-evolving textures. Johann Hummel. Schubert quickly produced the “Trout” Quintet, which, although not Program Notes by Chris Morrison

RENO CHAMBER ORCHESTRA 57 ACKNOWLEDGEMENTS

his program is yours with our compliments, thanks to the businesses whose advertisements are included and whose services to the RCO are cited throughout the program. Please give Tour business supporters an opportunity to serve you when you next need their products or services, and be sure to tell them you saw them mentioned in the RCO program! WE ARE GRATEFUL TO OUR LIFE MEMBERS: THE RCO ALSO EXTENDS ITS THANKS TO: Yvonne and Allen Brady All of the RCO’s great volunteers. Lynn Bremer Susan Cadena* Tanglewood Productions for making Marsha* and Les Cohen our archival recordings. Cleta and Walter* Dillard RCO photographer Stuart Murtland. Trudy Larson Joe Ross and OCG Creative for website Elizabeth and Gilbert* Lenz and digital marketing help. Barbara Long* Nancy and Jack* Rose David Lan and Focused Computing for Vera Stern maintaining our office computers. Toni Tennille and Daryl Dragon The Reno Philharmonic, for sharing Sue and Dieter von Hennig its music stands and other equipment Robbi and Jim* Whipp for RCO rehearsals. Jill M. Winter *In memoriam

PRE-CONCERT TALKS The RCO invites you to attend pre-concert talks prior to each of this season’s programs. These informative and entertaining presentations start 45 minutes before each of our performances – Saturday at 6:45 p.m. and Sunday at 1:15 p.m. – and take place inside Nightingale Concert Hall. The pre-concert talks provide an excellent introduction to the music you’ll hear played by the RCO. This program is made possible in part by a grant from Nevada Humanities, a state program of the National Endowment for the Humanities.

PLANNED GIVING

HELP ENSURE THE RCO’S FINANCIAL HEALTH There are other possibilities as well. Always Your investment in the Reno Chamber Orchestra consult your attorney or tax advisor to discuss will help ensure continuing funding for our any effects your gift will have on your personal concerts and programs in future years. Including tax or estate situation. the RCO in your financial and estate planning may also provide tax advantages and/or a regular If you have already made arrangements income stream. concerning the RCO, we would ask you to let us know. Your information will be held in Your gift can take many forms: strictest confidence. • Securities • Charitable Remainder Annuity Trust For more information, call the RCO • Bequest through a will, estate plan, or at (775) 348-9413. family trust • Life Insurance • IRA or retirement plan assets

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