AROUND TOWN A series of free concerts all over NYC

The Town Hall Sunday, February 28, 2016 at 3 PM THE UNFINISHED Two famous works that their composers walked away from.

Fri, May 13, 2016 Carnegie Hall

Leon Botstein, conductor SCHOENBERG Chamber Symphony No. 2 Includes a panel discussion on the Startling yet lyrical. Schoenberg began this works with: work but felt his style changing and left it TŌN’s music director Leon Botstein unfinished. 33 years later he revised and The Metropolitan Museum of Art’s Andrea Bayer, re-orchestrated it, merging his old style with Jayne Wrightsman Curator, European Paintings, MMA his new. Columbia University’s Elaine Sisman, Anne Parsons Bender Professor of Music MOZART Great Mass in C minor The Metropolitan Museum of Art’s Sheena Wagsta , Leonard A. Lauder Chairman, Noble and lush. Mozart promised to write Modern and Contemporary Art several pieces for his wife, this one while they traveled to Salzburg. He only composed half the piece but it was performed anyway and Tickets & info at never completed. THEORCHESTRANOW.ORG The Town Hall Sunday, February 28, 2016 at 3 PM Season 1, Concert 14

Gerard Schwarz, Conductor Joseph Haydn Symphony No. 96 in D major (“The Miracle”), Hob. I/96 (1791) (1732–1809) Adagio—Allegro Andante Menuetto: Allegretto Finale: Vivace Music for Shakespeare’s Romeo and Juliet (1947) (1915–2005) Overture Balcony Scene Romeo and Friar Laurence Juliet and her Nurse The Death of Romeo and Juliet Intermission Igor Stravinsky Pulcinella Ballet in One Act with Song (1919–20) (1882–1971) Katherine Maysek, mezzo-soprano Jason Weisinger, tenor Leo Radosavljevic, bass-baritone

The concert will run approximately two hours, including one 20-minute intermission.

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Synopsis Movements

Florindo and Caviello serenade Prudenza and 1. Overture: Allegro Rosetta. The two women are unimpressed moderato 2. Serenata: Larghetto, and respond by throwing water on their Mentre l’erbetta suitors. Prudenza’s father, a doctor, appears (tenor) and chases them away. Pulcinella enters, 3. Scherzino: Allegro dances, and attracts Prudenza, who tries 4. Allegro to embrace him. He rejects her. 5. Andantino 6. Allegro 7. Ancora poco meno: Rosetta enters with her father, Tartaglia, and Contento forse vivere she tells him of her love for Pulcinella. Rosetta (soprano) dances for Pulcinella and they kiss. But his 8. Allegro assai 9. Allegro alla breve: mistress, Pimpinella, sees this and interrupts. Con queste paroline Florindo and Caviello re-enter in disguise, (bass) and Florindo, jealous of Pulcinella, stabs him. 10. Largo: Sento dire When the would-be lovers leave, Pulcinella no’ncè pace (soprano, tenor & cautiously gets up. Four little Pulcinellas enter, bass) carrying the body of Fourbo disguised as 11. Allegro: Ncè sta Pulcinella. They place the body on the floor. quaccuna po (soprano & tenor) 12. Presto: Una falan The Doctor and Tartaglia enter with their zemprece (tenor) daughters, who are horrified. A magician 13. Largo appears and revives the corpse. When the 14. Allegro alla breve fathers refuse to believe the miracle, the 15. Tarantella: Allegro magician removes his cloak and reveals moderatro 16. Andantino: Se tu himself to be the real Pulcinella. The revived m’ami (soprano) corpse is his friend Fourbo. 17. Allegro 18. Gavotta: Allegro Pimpinella enters but is frightened at the moderato; Variazione 1a: sight of two Pulcinellas. Florindo and Caviello Allegretto; return, disguised as Pulcinellas, hoping for Variazione 2a: Allegro more satisfaction in their amorous pursuits. più tosto modera The confusion caused by four Pulcinellas 19. Vivo 20. Tempo di minué: prompts Fourbo to resume his magician Pupillette, fiammette disguise. The Pulcinella couples, including d’amore (soprano, Pimpinella and the actual Pulcinella, are tenor & bass) reunited and married. 21. Finale: Allegro assai

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Text & Translation

2. Tenore 2. Tenor Mentre l’erbetta pasce l’agnella, While her lamb grazes, sola soletta la pastorella all alone the shepherdess tra fresche frasche amidst the leafy groves per la foresta through the woodland cantando va wanders and sings. 7. Soprano 7. Soprano Contenta forse vivere Perhaps I could live contentedly nel mio martir potrei, in my sorrow, se mai potessi credere if ever I might believe che, ancor lontan, tu sei that, though away, you are fedele all’amor mio, still true to my love, fedele a questo cor. loyal to my heart. 9. Basso 9. Bass Con queste paroline With such sweet words così saporitine, so very delightful, il cor voi mi scippate you tear out my heart dalla profondità. from deep down. Bella, restate qua, Lovely lady, stay here, che se più dite appresso for if you say any more io certo morirò. apart from you I’ll die. Così saporitine So delightful con queste paroline with these sweet words il cor voi mi scippate, you tear out my heart, morirò, morirò. I will die, I will die. 10. Terzetto 10. Trio Sento dire no’ncè pace, I’ve heard it said that there’s no peace, Sento dire no’ncè cor, I’ve heard it said that there is no heart, ma cchiù pe ‘tte no, but for you, no, no’ncè carma cchiù pe’tte. there is peace no more.

Tenore Tenor Chi disse cà la femmena Whoever says that a woman sa cchiù de farfariello is more cunning than the devil disse la verità. is speaking the truth. 11. Soprano e Tenore 11. Soprano and Tenor Soprano Soprano Ncè sta quaccuna po’ There are some, besides, che a nullo vole bene who are fond of no one e a cciento nfrisco tene and keep a hundred on a string schitto pe’scorcoglià, to deceive them all quite openly, e a tant’autre malizie and employ many other tricks; chi maie le ppo’, le pp’o conta. who can ever count them all?

Tenore Tenor Una te fa la nzemprece One woman feigns innocence ed è malezeosa, and yet is deceitful, ‘n autra fa la schefosa another plays hard to get e bo’lo maretiello, and yet longs for a husband, Chi a chillo tene ‘ncore one holds fast to that one e a tant’autre malizie and resorts to all her other tricks; chi maie le ppo’, le ppo’ conta, who can ever count them all, e lo sta a rrepassa’. who can ever list them?

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Text & Translation

12. Tenore 12. Tenor Una te fa la nzemprece One woman feigns innocence ed è malezeosa, and yet is deceitful, ‘n autra fa la schefosa another plays hard to get e bo’eo maretiello, and yet longs for a husband, ncè sta quaccuno po’ and there are some, besides, che a nullo—udetene— who care for no one—listen to me— chi a chillo tene ‘core one still holds fast to that man e a cchisto fegne amore and feigns she is in love with this one, e a cciento nfrisco tene and keeps a hundred on a string schitto pe’ scorcoglià to deceive them quite openly, e tante, tant’autre malizie and many, many other tricks; chi maie le ppo’ conta’. who can ever count them? 16. Soprano 16. Soprano Se tu m’ami, se tu sospiri If you love me, if you sigh sol per me, gentil pastor, for me alone, gentle shepherd, ho dolor de’ tuoi martiri, I feel sorry for your anguish, ho diletto del tuo amor, I am glad because of your love, ma se pensi che soletto but if you think that to you only io ti debba riamar, I should return my love, pastorello, sei soggetto O young shepherd, you risk facilmente a t’ingannar. being easily disappointed. Bella rosa porporina A lovely crimson rose oggi Silvia sceglierà, Sylvia will pick today, con la scusa della spina but with the pretext of a thorn doman poi lo sprezzerà. she will scorn it tomorrow. Ma degli uomini il consiglio But men’s advice io per me non seguirò. I for one will not heed. Non perché mi piace il giglio And just because I like the lilly gli altri fiori sprezzerò. I will not spurn the other flowers. 20. Terzetto 20. Trio Pupillette, fiammette d’amore Lovely eyes, bright with love, per voi il core struggendo si va. My heart is melting in my breast for you.

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Gerard Schwarz conductor Photo by Steve J. Sherman J. by Steve Photo

Gerard Schwarz serves as Music Director of The All-Star Orchestra and the Eastern Music Festival and is Conductor Laureate of the Seattle Symphony. Mr. Schwarz’s latest project, The All-Star Orchestra, features a handpicked ensemble of star players from America’s leading orchestras coming together for an American Public Television series designed to encourage a greater understanding and enjoyment of classical music. The eight-episode first season was awarded three Emmys and an ASCAP Award and is now released by Naxos on DVD. The next 4 episodes have recently been released. His considerable discography of over 350 recordings showcases his collaborations with some of the world’s greatest orchestras, including the Philadelphia Orchestra, London Symphony Orchestra, Berlin Radio Symphony Orchestra, Orchestre National de France, Tokyo Philharmonic Orchestra, Los Angeles Chamber Orchestra, New York Chamber Symphony, and Seattle Symphony, among others. Mr. Schwarz began his professional career as co-principal trumpet of the and has held leadership positions with Mostly Mozart Festival, Royal Liverpool Philharmonic Orchestra, Los Angeles Chamber Orchestra, and New York Chamber Symphony. As a guest conductor of both opera and symphony, he has worked with many of the world’s finest orchestras and opera companies. In 2011, Mr. Schwarz completed his final season as music director of the Seattle Symphony after an acclaimed 26 years. In his nearly five decades as a respected classical musician and conductor, he has received hundreds of honors and accolades, including Emmy awards, Grammy nominations, ASCAP awards, and the Ditson Conductor’s Award. He was the first American named Conductor of the Year by Musical America and has received numerous honorary doctorates. The City of Seattle named the street alongside the Benaroya Hall “Gerard Schwarz Place.”

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Katherine Maysek mezzo-soprano Photo by Beabe Gallery by Beabe Photo

Performances: Piccarda in Max von Schillings’ Mona Lisa with the American Symphony Orchestra; Bach’s St. John Passion, Christmas Oratorio, and Mass in B minor with Blanche Moyse Chorale; Medea in Harold Farberman’s Medea, Mrs. Grose in The Turn of the Screw, Mozart’s Requiem, Schubert’s Mass in E-flat major, and Bach’sMagnificat with the Bard College Conservatory; 2nd witch in Mark Morris’ dance adaptation of Purcell’s Dido & Aeneas and the world premiere of Christian Mason’s The Years of Light at Tanglewood Music Center; Bradamante in Alcina with Opera NUOVA; Nerone in L’incoronazione di Poppea and Tirinto in Imeneo with Opera McGill; Cherubino in Le nozze di Figaro with Opera on the Avalon Upcoming: Cover for Meg Page in Falstaff and Apprentice Artist at Des Moines Metro Opera, summer 2016 Fellowships/Training Programs: Des Moines Metro Opera, Apprentice Artist; Toronto Summer Music Festival, Fellowship; Tanglewood Music Festival, Fellowship Mentors: James Bagwell, Kayo Iwama, Dawn Upshaw, Erika Switzer, Sanford Sylvan Education: Master of Music in Vocal Arts, Bard College Conservatory of Music; Bachelor of Music in Voice Performance, McGill University

More info online at katherinemaysek.com page 8 @TheOrchNow BARDTHE ARTISTS COLLEGE BOARD OF TRUSTEES

Leo Radosavljevic bass-baritone Photo by StuartPhoto Rogers

Performances: Bonze in Puccini’s , Opera Colorado; Don Alfonso in Mozart’s Così fan tutte, New Philharmonic Orchestra in Chicago; Telemann’s Die Tageszeiten, Juilliard415 at Alice Tully Hall followed by a west coast tour and a live recording with the Canadian Broadcasting Company; featured as a pianist and premiered the role of Willi Graf in first U.S. performance of Sir Maxwell Davies’ Kommilitonen!, Tobias Mill in Rossini’s La Cambiale di Matrimonio, Carlino in Donizetti’s Don Pasquale, Bottom in Britten’s A Midsummer Night’s Dream, and Simone in Puccini’s at The Appearances: Alice Tully Hall debut at age 19; recitalist at Carnegie Hall every season since 2012; participant in ’s The Song Continues… program; Toronto Summer Music Festival; Ravinia Festival’s Steans Young Artist Program; The New York Festival of Song Awards: 8th International Klaudia Taev Competition in Pärnu, Estonia, 3rd Prize; American Prize Competition, 1st prize; The Bel Canto Foundation Competition in Chicago, 2nd prize; Luminarts Competition, Finalist; several-time grant winner of the Gerda Lissner, Licia Albanese, and competitions in New York Education: Undergraduate degree with scholastic distinction, The Juilliard School; graduate degree, The Juilliard School; studies with Julia Faulkner

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Jason Weisinger tenor Photo by Frank Bradford by Frank Photo

Appearances: Boston Pops at both Symphony Hall in Boston and The Koussevitzky Music Shed in Lenox, MA; Berlioz’s Nuits d’été and scenes from Mozart’s Idomeneo with the Tanglewood Music Center Orchestra in Seiji Ozawa Hall; performances in concerts such as “The Ricky Ian Gordon Songbook” and “The Legacy of Jewish Songsmiths on Broadway” with Cincinnati Opera Awards: Will appear as a semi-finalist, Joy in Singing Competition at the Bruno Walter Auditorium at Lincoln Center in March Mentors: Dawn Upshaw, Sanford Sylvan, Kayo Iwama, Stephanie Blythe, Alan Smith, Howard Watkins, Ken Shaw, Lydia Brown, Kenneth Griffiths, and Donna Loewy Education: Bachelors of Music in Vocal Performance, SUNY Fredonia; Masters in Music in Vocal Performance, University of Cincinnati-CCM

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The Orchestra Now Photo by Jito Lee by Jito Photo

Founded in 2015, The Orchestra Now is an innovative training orchestra and master’s degree program at Bard College that is preparing a new generation of musicians to break down barriers between modern audiences and great orchestral music of the past and present. Under the leadership of conductor, educator, and music historian Leon Botstein, TŌN mines the wealth of underperformed repertoire, reimagines traditional concert formats, and strives to make the experience of the performers a part of the listeners’ experience. At a TŌN concert, musicians and audience inspire one other, each following their curiosity with a shared sense of adventure.

The musicians of TŌN hail from across the U.S. and six other countries: Hungary, Korea, China, Japan, Canada, and Venezuela. In addition to a concert series at their home base—the stunning -designed Richard B. Fisher Center for the Performing Arts at Bard College—they perform multiple concerts each season at Carnegie Hall and offer free concerts at venues across the boroughs of New York City in the Around Town series. At the Metropolitan Museum of Art they join Leon Botstein in the series Sight & Sound as he explores the places where musical and visual expression meet, pairing orchestral works with masterpieces from the museum’s collection.

In addition to Mr. Botstein and TŌN’s Associate Conductor and Academic Director, James Bagwell, guest conductors in the inaugural season include JoAnn Falletta, Marcelo Lehninger, and Gerard Schwarz.

More info online at theorchestranow.org

THEORCHESTRANOW.ORG page 11 BARDMEET THECOLLEGE MUSICIANS BOARD OF TRUSTEES

Holly Jenkins violin Photo by Jito Lee by Jito Photo

Hometown: House Springs, Missouri Alma maters: Oberlin Conservatory, Manhattan School of Music Appearances: Shattered Glass Ensemble; St. Louis Symphony Orchestra, substitute, 2015; solo appearances with the Oberlin Conservatory, St. Louis Symphony, St. Louis Chamber, Richardson Symphony, Sarasota Music Festival, Eastern Music Festival, St. Louis Symphony Youth, and Principia College Orchestras, Belleville Philharmonic, and the Clayton Symphony Favorite composer fact: Jean-Baptiste Lully died because he stabbed his foot with his conductor stick and died of gangrene. Most fun piece to play: There’s not just one! But I’ve loved playing anything by Janáček. Musical origins: I began playing violin at the age of 6 because my older sister already played the piano and I didn’t want to play the same thing as she did! Best music to play on repeat: Janáček’s string quartets Piece of advice for a group of people: Use your head, don’t just follow. Unless you’re in an orchestra. Piece of advice for a young classical musician: Play with your heart and don’t forget to be nice to yourself. Musical guilty pleasure: I definitely don’t feel guilty when I listen to anything!! Favorite soundtrack: The Illusionist

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Milad Daniari bass Photo by Jito Lee by Jito Photo

Hometown: Dallas, Texas Alma mater: Manhattan School of Music Awards/Competitions: Finalist, Fort Worth Symphony Young Artist Competition; MSM Ambrose Monell Foundation Scholarship; Lillian Fuchs Chamber Music Competition; soloist with the Maryland Youth Symphony (Mahler, “Songs of a Wayfarer”) Appearances: National Repertory Orchestra; Round Top Festival Institute; Chelsea Music Festival; Alba Music Festival; Basses Loaded concert series, Victoria Summer Music Festival, alongside Gary Karr; Manhattan School of Music Symphony Orchestra, principal bass; Union City Philharmonic Orchestra; Gateway Classical Music Society; Chesapeake Orchestra; Romanian State Orchestra Favorite non-classical musician or band: Frank Sinatra Favorite composer fact: Arnold Schoenberg had a fear of the number 13 and then happened to die on a Friday the 13th. Most fun piece to play: Ein Heldenleben or any Strauss tone poem. The bass parts are complete rock and roll. Musical origins: I began playing bass at the age of 12 because I wanted to play the Jaws theme.

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Leon Botstein, Music Director Flute Violin II Thomas J. Wible, Mia Laity, Principal (1st half ) Principal Victor Wang, Haemi Lee Principal (2nd half ) Lili Sarayrah Oboe Youyang Qu Zachary Boeding, Michael Rau Principal (Haydn) Aleh Remezau, Brenna Hardy-Kavanagh Principal (Diamond, Stravinsky) Dawon Eileen Suh (on leave) Clarinet Elias Rodriguez, Principal Viola Sangwon Lee Scot Moore, Principal Omar Shelly Bassoon David Mason Cathryn Gaylord, Bonnie Heung Principal (Haydn) Wade Coufal, Principal (Diamond) Dávid A. Nagy, Cello Principal (Stravinsky) Hui Zhang, Principal Horn Eleanor Lee Philip Brindise, Taylor Skiff Principal (Haydn) Shannon Hagan, Principal Andrew Borkowski (Diamond, Stravinsky) Jordan Miller Bass Milad Daniari, Principal Trumpet Julian Lampert Zachary Silberschlag, Principal Michael Franz (Haydn, Stravinsky) Szabolcs Koczur, Guest musicians for this concert Principal (Diamond) Timpani Trombone Jonathan Wisner David Whitwell

Violin I Percussion Holly Jenkins, Concertmaster David Degge Andrés Rivas Grace Choi Harp Shushi Hori Kathryn Sloat Adina Mu-Ying Tsai Violin I Yezu Woo

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The Orchestra Now Administration Artistic Staff Administrative Staff Leon Botstein, Lynne Meloccaro, Executive Director Music Director Oliver Inteeworn, Managing Director James Bagwell, Brian J. Heck, Director of Marketing Associate Conductor and Academic Director Sebastian Danila, Zachary Schwartzman, Librarian and Researcher Resident Conductor Nicole M. de Jesús, Erica Kiesewetter, Development Manager Director of Chamber and Audition Marielle Metivier, Orchestra Manager Preparation Carley Gooley, Marketing Assistant Benjamin Oatmen, Librarian Kristin Roca, Administrative Assistant

Bard College Board of Trustees

David E. Schwab II ’52, Chair Emeritus Andrew S. Gundlach Charles P. Stevenson Jr., Chair Sally Hambrecht Emily H. Fisher, Vice Chair Marieluise Hessel George F. Hamel Jr., Vice Chair Maja Hoffmann Elizabeth Ely ’65, Secretary, Life Trustee Matina S. Horner+ Stanley A. Reichel ’65, Charles S. Johnson III ’70 Treasurer, Life Trustee Mark N. Kaplan, Life Trustee Fiona Angelini George A. Kellner Roland J. Augustine Paul S. Levy Leon Botstein+, President of the College Fredric S. Maxik ’86 Stuart Breslow+ James H. Ottaway Jr., Life Trustee Mark E. Brossman Martin Peretz, Life Trustee Thomas M. Burger+ Stewart Resnick, Life Trustee James C. Chambers ’81 Roger N. Scotland ’93, Alumni/ae Marcelle Clements ’69, Life Trustee Trustee Craig Cogut Jonathan Slone ’84 The Rt. Rev. Andrew M. L. Dietsche, James A. von Klemperer Honorary Trustee Brandon Weber ’97, Alumni/ae Trustee Asher B. Edelman ’61, Life Trustee Susan Weber Paul S. Efron Patricia Ross Weis ’52 Robert S. Epstein ’63 Barbara S. Grossman ’73, + ex officio Alumni/ae Trustee

THEORCHESTRANOW.ORG page 15 BARDTHE TŌN COLLEGE FUND BOARD OF TRUSTEES Photo by Jito Lee by Jito Photo

Make an important investment in a new generation of musicians who are redefining what it means to be an orchestra.

Through a gift to The TŌN Fund, you will help to inspire and support TŌN graduate students and their education.

TŌN students are select musicians who hail from the finest conservatories across the U.S. and abroad. They are completing a rigorous, three-year academic program leading to a Masters of Curatorial, Critical and Performance Studies. In addition to tackling interdisciplinary coursework, they prepare and perform in professional concerts, and create music education programs.

Your tax-deductible contributions to The TŌN Fund will support student living stipends, fellowships, and health benefits; concerts at Bard College, Carnegie Hall, The Metropolitan Museum of Art, and other venues around NYC; TŌN’s teaching artist program, which provides opportunities for TŌN musicians to design and implement community outreach projects with mid- Hudson schools, regional concert series, and community music education programs; purchase and care for instruments such as timpani and pianos, scores, and library acquisitions; and more.

To donate online, or for more information, visit THEORCHESTRANOW.ORG/SUPPORT

To explore how your gift can support TŌN or to become more involved, please contact Nicole M. de Jesús, Development Manager, at (845) 758-7624 or [email protected].

page 16 @TheOrchNow CONCERT NOTES by Peter Laki, Visiting Associate Professor of Music at Bard College

Joseph Haydn Symphony No. 96

Haydn had been known in England long before he set foot there in person. Once he had arrived, he quickly adjusted to the new environment. The 59-year- old master thoroughly enjoyed the social scene and the many new friends he made, but he also had to get down to work, having been engaged to write a series of new symphonies for concerts organized by the German-born violinist and impresario Johann Peter Salomon.

Contrary to the standard numbering of the Haydn symphonies, established in the 19th century by Eusebius Mandyczewski, modern scholarship has discovered that the present symphony was the very first Haydn wrote in London. It set the tone for the entire cycle of twelve Haydn was to compose over the next four years.

Like all the London symphonies except one, No. 96 opens with a slow introduction, which, by its minor-mode inflections and chromatic notes, poses a “problem” to which the subsequent Allegro will provide the “solution.” As contemporaries have already remarked, this Allegro begins in medias res, with the entrance of the melody delayed until the second half of the measure. Melodic and rhythmic elements from this unusual beginning are developed throughout the movement, which abounds in suspenseful gestures and surprises: for instance, a two-measure general rest, followed by a return of the main theme that tricks the listener into believing that the recapitulation has begun whereas we are still in the development section.

The second-movement Andante is an A-B-A design with an intensely contrapuntal minor-mode section at the center. Most remarkable is the ending, which the late H. C. Robbins Landon, the great Haydn specialist, described as a “cadenza-cum-coda”: an extraordinary passage with solos not only for the wind instruments, but for the concertmaster and the principal second violin as well.

The Minuet is one of Haydn’s typical Austrian dance movements, with a beautiful oboe solo in the Trio section. The animated rondo finale is likewise based on an Austrian dance form (this time, the contradance), but there is an extended minor-mode episode that introduces more dramatic accents. A word about the symphony’s nickname, “Miracle”: it was said that during a performance of this symphony, a large chandelier crashed to the floor but miraculously no one was hurt. It is not entirely clear, however, whether this incident really occurred during a performance of Symphony No. 96, or indeed whether it ever took place at all.

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David Diamond Romeo and Juliet

The compact disc recording of David Diamond’s Music for Shakespeare’s “Romeo and Juliet” with Gerard Schwarz and the New York Chamber Symphony (Delos, 1990) contains, in its accompanying booklet, an interesting conversation between the composer and interviewer Adam Stern, from which we may learn a great deal about Diamond’s personality and his long, distinguished career. Among the topics covered were his friendship with the great French writer André Gide; his contacts with great conductors like Pierre Monteux, Charles Munch, and George Szell, all of whom performed his music; and his affinity for Shakespeare (aside fromMusic for “Romeo and Juliet,” he also wrote incidental music to The Tempest and a “symphonic portrait” of Timon of Athens).

Asked about Romeo, Diamond insisted that it was meant as “pure concert music,” rather than accompanying a stage production.

Then later, when Dwight Wiman and Peter Glenville gave their production on Broadway with Olivia de Havilland in 1951, they wanted to use it because Olivia had known the work and liked it (she had a copy of the first recording, made the year of the premiere on Columbia 78s). When I got to the rehearsal, they started talking about chopping up the long, sustained movements I had written, and I said: “Nothing doing—if it’s agreeable to you, I’d prefer to write a whole new score.” So there is a separate Romeo and Juliet suite, which is not published but is sometimes rented out to accompany productions of the play.... It’s a completely independent work.

Diamond wrote Music for Shakespeare’s “Romeo and Juliet” as a five- movement suite. In these five movements, Diamond offered musical portraits of the main characters, and some personal reflections on some of the major scenes in the play, without having to tailor the music to the demands of the stage. The music, in a sense, creates its own stage: it begins with an overture that is theatrical enough, and continues with four movements, each corresponding to a specific moment in the drama (“Balcony Scene,” “Romeo and Friar Laurence,” “Juliet and Her Nurse,” and “The Death of Romeo and Juliet”).

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Igor Stravinsky Pulcinella

On the title page of the score, Pulcinella is called a “ballet with songs after Giambattista Pergolesi.” Yet the origins of the material are much more complicated than this title would lead one to believe. It is now known that a great deal of music attributed to Pergolesi is not actually by him. Pergolesi (1710–36), who has the sad distinction of being one of the shortest-lived composers in the history of Western music, was professionally active for only five years, during which time he managed to establish himself in Naples as a prominent composer of operas, sacred and secular vocal music, as well as instrumental works. Yet his success during his lifetime pales in comparison to his posthumous fame. Posterity counted him among the greatest composers of the 18th century; his short opera La serva padrona was performed all over Europe, and J. S. Bach, Pergolesi’s senior by 25 years, made an arrangement of the Italian composer’s Stabat Mater. As the years wore on, more and more works bearing the name of this musical prodigy appeared on the market. Modern scholarship, however, has determined that a large number of these works are inauthentic.

Stravinsky discovered this body of music, so remote from him in time and space, through the director of the Russian Ballet, Sergei Diaghilev. The famous impresario, who had commissioned Stravinsky’s three great Russian ballets (The Firebird, Petrushka, The Rite of Spring) in the years before World War I, was anxious to renew his collaboration with the composer after war’s end, but decided that it was time for a change of style. He had recently produced a ballet based on music by Domenico Scarlatti (1685–1757), and he wanted to continue his explorations of Italian Baroque music. At first, Pergolesi’s music seemed to hold little interest for Stravinsky, but he, too, was eager to work with Diaghilev again, and happily accepted the proposal.

Diaghilev supplied his friend with a number of “Pergolesi” works and they agreed on the plot of the ballet, apparently culled from an old manuscript containing humorous anecdotes about Pulcinella, a traditional character from the Renaissance improvised theater, the commedia dell’arte. All the girls in the village are in love with Pulcinella, and their fiancés conspire to kill him. It is a comedy of errors that ends without any bloodshed (a few fisticuffs, at most); in the end, every boy, including Pulcinella, finds a girl after his own heart to marry.

In general, Stravinsky preserved the melody and the bass line of the originals. He used a small, classical orchestra with no clarinets and a solo string quartet in the style of the Baroque concerto grosso. He often changed the harmonies and added modern playing techniques such as harmonics (both on strings and flutes) and trombone glissandos. These changes were sufficient to turn the music of Pergolesi (and the various pseudo-Pergolesis) into pure Stravinsky.

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