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60088B67cc38afd17cbe9315 Ives Program Final.Pdf Thursday, November 3, 2011, 8 p.m. and Friday, November 4, 2011, 8 p.m. THURSDAY, NOVEMBER 3, 2011, 8 P.M. FRIDAY, NOVEMBER 4, 2011, 8 P.M. G G 3TRATHMORE AND 3TRATHMORE AND 0OST#LASSICAL %NSEMBLE 0OST#LASSICAL %NSEMBLE PRESENT PRESENT Charles Ives: A Life in Music Beethoven and Ives William Sharp, baritone Jeremy Denk, piano Jeremy Denk, piano William Sharp, reader Carolyn Goelzer, actor Floyd King, actor With readings for the Concord Sonata culled by Joseph Horowitz from Ives’ Essays Before a Sonata, PostClassical Ensemble conducted by Angel Gil-Ordóñez Emerson’s essay “Circles” and Thoreau’s Journal and Walden Written and produced by Joseph Horowitz Second Piano Sonata Charles Ives The Unanswered Question Charles Ives “Concord, Mass., v %MERSON “The Circus Band” Charles Ives (AWTHORNE “Memories” Charles Ives 4HE !LCOTTS In the Inn Charles Ives 4HOREAU “Feldeinsamkeit” Johannes Brahms INTERMISSION “Feldeinsamkeit” Charles Ives Sonata No. 29 in Ludwig van “Remembrance” Charles Ives B-flat major, Op. 106 Beethoven (Hammerklavier “The Housatonic at Stockbridge” Charles Ives Largo Cantabile Charles Ives !LLEGRO 3CHERZO !SSAI VIVACE INTERMISSION !DAGIO SOSTENUTO “Majority” Charles Ives )NTRODUZIONE ,ARGO &UGA Over the Pavements Charles Ives !LLEGRO RISOLUTO “General Booth Enters into Heaven” Charles Ives ACCOMPANIMENT ORCHESTRATED 0OST CONCERT DISCUSSION WITH THE ARTISTS BY *OHN "ECKER ; = 4HE -USIC #ENTER AT 3TRATHMORE -ARRIOTT #ONCERT 3TAGE “The Alcotts,” from the Concord Charles Ives Piano Sonata &IVE )VES SONGS WITH ORCHESTRA WITH ACCOMPANIMENTS ORCHESTRATED BY *OHN !DAMS “Thoreau” “Down East” “Cradle Song” “At the River” “Serenity” The Unanswered Question Charles Ives 0OST CONCERT DISCUSSION WITH THE ARTISTS 4HE -USIC #ENTER AT 3TRATHMORE -ARRIOTT #ONCERT 3TAGE 28 APPLAUSE AT 3TRATHMORE s NOVEMBER/DECEMBER 2011 Thursday, November 3, 2011, 8 p.m. and Friday, November 4, 2011, 8 p.m. THE IVES PROJECT About the Ives Project presented by Strathmore and PostClassical Ensemble By Joseph Horowitz PostClassical Ensemble In 1942, Edith Ives, age 28, wrote her Angel Gil-Ordóñez, Music Director father a 1,700-word letter for his 68th Joseph Horowitz, Artistic Director birthday—decades after Charles Ives Strathmore had ceased composing. It read in part: Shelley Brown, Vice President of Programming Georgina Javor, Director of Programming “Dear Daddy, “You are so very modest and sweet Made possible through the support of the Strathmore Artistic Initiatives Fund, Daddy, that I don’t think you realize Charles Ives Society, the Andrew W. Mellon Foundation and the National the full import of the words people use Endowment for the Arts about you, ‘A great man.’ “Daddy, I have had a chance to see so many men lately—fine fellows, and no The Ives Project doubt the cream of our generation. But I have never in all my life come across one THURSDAY, NOV. 3, 2011, 4 P.M. who could measure up to the fine stan- Ives Master class with Jeremy Denk dard of life and living and you believe in, 4HE -ANSION AT 3TRATHMORE and that I have always seen you put into 3HAPIRO -USIC 2OOM action no matter how many counts were against you. You have fire and imagina- *EREMY $ENK WILL GUIDE PIANO STUDENTS IN THE INTRICACIES OF tion that is truly a divine speak, but to PERFORMING )VES MUSIC AND MAINSTAYS OF THE !MERICAN REPERTOIRE me the great thing is that never once have you tried to turn your gift to your THURSDAY, NOV. 3, 2011, 5:30 P.M. own ends. Instead you have continually Ives Plays Ives given to humanity right from your heart, 4HE -ANSION AT 3TRATHMORE asking nothing in return— and all too 3HAPIRO -USIC 2OOM often getting nothing. The thing that *EREMY $ENK AND *OSEPH (OROWITZ PRESENT makes me happiest about your recogni- AND DISCUSS RARE RECORDINGS OF )VES PLAYING tion today is to see the bread you have AND SINGING HIS OWN MUSIC so generously cast upon most ungrate- ful waters, finally beginning to return to SATURDAY, NOV. 5, 2011, 3:30 P.M. you. All that great love is flowing back Interpreting Ives to you at least. Don’t refuse it because it 4HE -USIC #ENTER AT 3TRATHMORE %DUCATION 7ING 2OOM comes so late, Daddy.” )MMERSE YOURSELF IN THE MULTIFACETED MUSIC AND EXPLORE THE LIFE AND When I first encountered Edie’s let- LETTERS OF THIS GREAT !MERICAN COMPOSER IN AN AFTERNOON OF LECTURES ter, in Tom Owens’ Selected Correspon- AND PERFORMANCES dence of Charles Ives (2007), I knew 3:30-4:30 p.m.: *OSEPH (OROWITZ ON )VES AND THE 21st Century it had to become part of a public pre- *EREMY $ENK ON )VES AND "EETHOVEN LECTUREPERFORMANCE sentation. I realized, in an instant, 4:30-5:15 p.m.: -INGLE WITH ARTISTS AND MUSIC LOVERS that Ives—himself a writer of distinc- 5:15-6:30 p.m.: 4OM /WENS ON )VES LETTERS 7ILLIAM 3HARP ON THE tion—was a prime candidate for a con- PARLOR SOURCES OF )VES SONGS LECTUREPERFORMANCE cert with actors that would mutually illuminate Ives the man and Ives the SATURDAY, NOV. 5, 2011, 7:30 P.M. composer. The result is “Charles Ives: Ives and Other Innovators A Life in Music,” which launches the 4HE -ANSION AT 3TRATHMORE present three-day “Ives Project.” 4HE *!#+ 1UARTET AN INTREPID YOUNG ENSEMBLE DEDICATED TO PER With George Gershwin, Ives is ar- FORMING NEW MUSIC IS BREAKING GROUND WITH hVISCERALLY EXCITING guably the supreme creative genius to PERFORMANCESv The New York Times (EAR THEM PERFORM THE MUSIC grace the narrative of American clas- OF )VES JUXTAPOSED WITH WORKS BY SUCH CONTEMPORARY COMPOSERS AS sical music. But, as with Gershwin, 0HILIP 'LASS *ULIA 7OLFE AND #ALEB "URHANS his impact is glancing at best. And, as not with Gershwin, his music remains APPLAUSE AT 3TRATHMORE s NOVEMBER/DECEMBER 2011 29 Thursday, November 3, 2011, 8 p.m. and Friday, November 4, 2011, 8 p.m. little known to the musical public at 22), and the David Taylor Trio (Feb. 18). part of “Musicians from Marlboro” na- large. “The Ives Project,” hosted by PostClassical Ensemble has pre- tional tours. Strathmore, engages the pianist Jer- sented more than five dozen events in After graduating from Oberlin Col- emy Denk and the baritone William the Washington, D.C. region, and has lege and Conservatory with degrees in Sharp—both supreme Ives advo- toured programs including the sold-out piano and chemistry, Denk earned a cates—in a strategy for better ac- American stage premiere of Manuel de master’s degree in music from Indiana quainting American audiences with Falla’s El Corregidor y la Molinera at the University as a pupil of György Sebök, the cranky Ives idiom: for penetrating Brooklyn Academy of Music. and a doctorate in piano performance its assaultive exterior and forbidding from The Juilliard School, where he crankiness, for connecting to its warm Jeremy Denk, piano worked with Herbert Stessin. He lives heart and soul. American pia- in New York City. nist Jeremy PostClassical Ensemble Denk has Georgetown University PostClassical Ensemble was founded steadily built a Concert Choir in 2003 by Angel Gil-Ordóñez (music reputation as The Georgetown University Concert director) and Joseph Horowitz (artistic one of today’s Choir is a mixed ensemble that per- director) as an experimental musical most compel- forms a diverse range of sacred and sec- laboratory. It endeavors to expand the ling and per- ular works. Its past repertoire has in- boundaries of orchestral programming suasive artists cluded J.S. Bach’s Jesu, meine Freude and explore new presentation models with an unusually broad repertoire. The Motet No. 3 in E minor (BWV 227), for the field. New York Times describes Denk’s play- Duruflé’s Ubi caritas, and Vaughan This season, subsequent to The ing as “bracing, effortlessly virtuosic, Williams’ Serenade to Music. Direct- Ives Project, PostClassical Ensemble and utterly joyous.” ed by Professor Frederick Binkhold- will present new staged productions He has appeared as soloist with er, the Concert Choir performs one of Manuel de Falla’s El Amor Brujo many major orchestras, including the major concert each semester and at and Stravinsky’s The Soldier’s Tale— Atlanta, Dallas, Houston, NewWorld, special ceremonies and venues such as a double bill at Georgetown Uni- St. Louis and San Francisco Sympho- the White House and the opening of versity’s Gonda Theatre Dec. 3 and nies, as well as the Philadelphia Or- Georgetown University’s Qatar cam- 4. “Schubert Uncorked,” on March chestra, Orchestra of St. Luke’s, Or- pus in 2005. This November, the Con- 31 at Georgetown University’s Gas- pheus Chamber Orchestra and London cert Choir will perform Leonard Bern- ton Hall, will feature bass trombonist Philharmonia. stein’s Chichester Psalms and Johannes David Taylor in the world premiere of Denk maintains working relation- Brahms’ Liebeslieder Waltzes. the Arpeggione Concerto for trombone ships with a number of living com- and orchestra—a reworking of Franz posers and has participated in many Angel Gil-Ordóñez, Schubert’s Arpeggione Sonata. Both of premieres, including Jake Heggie’s con- music director, PostClassical Ensemble these programs will link to film events certo Cut Time, Libby Larsen’s Collage: at the National Gallery of Art. Boogie, Kevin Putz’s Alternating Current The 2011-2012 season also marks a and Ned Rorem’s The Unquestioned An- further stage in the ensemble’s ongoing swer. In 2002, he recorded Tobias Pick- collaborations with Strathmore, the er’s Second Piano Concerto with the National Gallery of Art and George- Moscow Philharmonic. He also worked town University, the ensemble’s educa- closely with composer Leon Kirchner tional partner—a partnership support- on many of his recent compositions, re- ed by a major grant from the Andrew cording his Sonata No.
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