BOSTON SYMPHONY ORCHESTRA

James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 130th Season, 2010-2011

CHAMBER TEA V Friday, March 11, at 2:30

COMMUNITY CONCERT VII

Sunday, March 13, at 3, at Endicott College Center for the Arts, Beverly

The free Community Concerts are made possible by a generous grant from the Lowell Institute.

BO YOUP HWANG, violin (1st violin in Haydn) ALEXANDER VELINZON, violin (1st violin in Schubert) STEVEN ANSELL, viola JONATHAN MILLER, cello (Haydn; 1st cello in Schubert) OWEN YOUNG, cello (2nd cello in Schubert)

HAYDN in D, Opus 50, No. 6, The Frog Allegro Poco Adagio Menuetto: Allegretto; Trio Finale: Allegro con spirit Mr. HWANG, Mr. VELINZON, Mr. ANSELL, and Mr. MILLER

SCHUBERT Quintet in C for two violins, viola, and two cellos, D.956 Allegro ma non troppo Adagio Scherzo: Presto; Trio: Andante sostenuto Allegretto

Mr. VELINZON, Mr. HWANG, Mr. ANSELL, Mr. MILLER, and Mr. YOUNG

Week 18 (1732-1809)

String Quartet No. 41 in D, Opus 50, No. 6, The Frog (Hob. 111:49)

This quartet of Haydn's, written in 1786, is the sixth in the series of quartets known collectively as "The Prussian Quartets," dedicated to King Friedrich Wilhelm II of Prussia (1744-97), Frederick the Great's nephew and successor. Commentators as- sert that the final victory of the cello over the gamba can be attributed to Friedrich Wilhelm's personal preference as an amateur cello player, as well as to his hiring of great cellists and cellist-composers for his court. He encouraged Mozart and Haydn to create more prominent cello parts in their quartets; and in gratitude for Haydn's work, he famously sent the composer a valuable ring, which Haydn trea- sured and is said to have worn when composing. The quartets of Opus 50 have been seen as a response to the six quartets Mozart dedicated to Haydn a few years earlier. In this particular quartet, the final and the most lighthearted of the set, Haydn stresses the equality of the four voices, and also gives the Trio of the minuet more weight than he had in earlier works.

The opening Allegro is exemplary of Haydn's good sense of humor. It begins with what can be recognized as a final cadence and reaches the tonic of the home key only at the end of the initial phrase rather than starting right out by establishing the key. A six-note motif serves as foundation for the whole movement, and Haydn presents its genial melody in the exposition over insistent accompaniment figures.

This melody is worked out motivically in a texture that is often imitative and contains many effective key changes; the development is more extended than in earlier works. The instruments are each independently treated, but they cooperate to discuss each subject completely.

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movement sings tenderly, beginning in the minor mode. There are phrase. To an earlier composer, the diminished chord would have demanded har- The slow progressions as the monic movement, its tensions unexpected melodic turns and pleasing harmonic would have insisted on resolution. Here, the chord S6Ver 1 along with variations, incorporating especially well-conceived inner simply is, a characteristic sound in its own right, possibly suggesting foreboding, mUS1C moves brings the work into the major mode, in a slightly varied or immensity, or mysticism but not harmonic movement. The central section — Soon these three chords V°'C in critics' estimation, a become a kind of motto in initial subject, making the movement, some embedded the principal theme. f of the one. In the last section, Haydn returns to material he used initially. Another unforgettable example of Schuberf s search for richer harmonic color m thematic dynamic third-movement minuet has a marked foot-stomping indeed the emotional high point of the first movement is the arrival at the second °The vigorous and — dotted rhythms and "Scotch snaps" (the latter a rhyth- theme. Conventional harmonic practice decreed that the secondary key thmic feel, with many must be G fh featuring a short note on the beat followed by a longer note, such as a if the tonic is C. Schubert appears to accede to this practice with a vigorous modu- c figure dotted eighth-note). The graceful Trio is more reserved lation to G, but the moment he lands on it, he leaves the two cellos hanging sixteenth-note and then a on the a repeated-note melody that note without other accompaniment, the expression, featuring several charming pauses and and second cello unexpectedly melts down in the slow movement. the scale to E-flat, whereupon the cellos duet in a lush new theme in that key. But echoes ideas explored is largely to the lively, effervescent spirit of there is another surprise: having convinced that The popularity of this quartet due now us the secondary material finale, which moves forward energetically and features extensive would not be in the expected key, Schubert modulates yet again, this time to G, for the energetic technique of rapidly alternating the same note played on two still another thematic statement and the conclusion cf the exposition. use of bariolage, a of these passages, suggestive of gay croaking As the quintet proceeds, what are called "Neapolitan different strings. It is from some relationships" come in- its nickname, The Frog. Actually, this unusual creasingly to the fore; these occur to sounds, that the quartet received when one key seems "lean" on another that is a in half-step lower. In the eighteenth sound has also given the work other nicknames—including "The row Vienna" century, such relationships occurred only briefly at succeed as well or remain with the work the cadence to provide a colorful of approaching the and "House on fire!"—which did not way dominant. But Schubert permanently. After the noteworthy initial subject, a smooth second theme, akin to expands the significance of these relationships so that entire sections of movements is "lean" the key, giving a the opening theme of the first movement, introduced. on home much wider and more piquant harmonic range, The original manuscripts for this and three other quartets of the Opus 50 set turned to vivid expressive use. In the slow movement, which begins with an un- suddenly appeared in 1982 after a concert in Melbourne, Australia, when a lady earthly stasis of almost mystical quality, the middle section is a contrastingly nervous presented them in a shopping bag to Christopher Hogwood, the English conductor, passage in F minor, the Neapolitan relationship to the main key of E. Even more harpsichordist, and writer who has also been one of the most influential proponents striking, perhaps, is the scherzo, which is as extroverted as one could wish for, of the historically informed early-music movement. only to have as its contrasting Trio a daringly imaginative slow section in D-flat —Susan Halpern (Neapolitan to the home key of C), asking urgent questions for which no answers are forthcoming. And even the questions are brusquely swept away in the return to the scherzo proper. The finale, though in many respects lighter in character (1797-1828) and expressive depth than the middle two movements, continues to exploit these Quintet in C for two violins, viola, and two cellos, D.956 relationships with sudden changes of harmonic color, which underline the shifts of Virtually nothing is known of the history of Schubert's C major string quintet—his emotional intensity. The surprising last two notes—a unison appoggiatura D-flat greatest chamber composition—except that he turned to it in August 1828, only falling to a solid C—summarize this aspect of the entire quintet. months before his tragically premature death in November, and probably completed —Steven Ledbetter the piece in September. We have no idea why he chose the particular ensemble with two cellos, as Boccherini had done in his quintets, rather than the two violas

Mozart preferred nor if he wrote it at someone's request. almost certainly — He Born in Korea, Bo Youp Hwang gave his first violin solo performance with orchestra never heard a performance, and the until full work was not published a quarter- when he was twelve, going on to study at the School of Music and Fine Arts and the century after his death. Still, it remains the only truly great composition for a string University of Seoul. He won two prestigious prizes at age eighteen, leading to study quintet with two cellos and remained so overwhelming that those an example even with the Fine Arts String Quartet at the University of Wisconsin, and later won first composers who might have used it as a model gave in the their up end and wrote prize in the Young Artists Competition. He was assistant concertmaster of the quintets with a second viola. Brahms, in particular, actually completed the com- Milwaukee Symphony Orchestra for three years before joining the Boston Sym- position of a quintet in F minor directly modeled on Schuberf s work; finally but he phony Orchestra in 1973. He has performed on several occasions as a soloist with the converted it into two alternative forms: the F minor quintet, Opus 34a, for string Boston Pops Orchestra, was also active as first violin of the Francesco String Quartet, quartet and piano, and the sonata for two pianos, Opus 34b. Both versions retain and has returned to Korea several times in past years to perform with orchestras *ar references to their Schubertian inspiration, above all in the of treatment there. Mr. Hwang has taught many successful young musicians over the years Neapolitan harmonic turns, of which Schuberf s is quintet the unparalleled model. around the Boston area and has also taught at the Boston University Tanglewood achubert's ear for harmonic color is exploited here to a degree hitherto unknown. Institute and New England Conservatory's Preparatory School. he first three chords are a good example: a C major triad followed by a diminished- seventh chord on C, followed by another C major triad to end the first part of the Boston Sym- Trio. Seeking out masters of different schools and styles, he also studied with Petersburg, violinist Alexander Velinzon joined the Raya A native of St. Shapiro, and Edgar concertmaster in 2005. Since Garbousova, Leonard Rose, Harvey Lustgarten. In 1964 and phony Orchestra in January 2000 and became assistant student at the Tanglewood Music of James Levine, Kurt 1965 he was a fellowship Center. Before joining then he has played as concertmaster under the direction Orchestra in 1971, Mr. Miller was other leading conductors. In the Boston Symphony principal cellist of the Masur, Sir Colin Davis, Michael Tilson Thomas, and with such orchestras as the Juilliard, Hartford, and San Diego symphony orchestras. He has been soloist addition, he has been invited to play as concertmaster with the Hartford Symphony, the Boston Pops Orchestra, and the Metropolitan London Philharmonic, Rotterdam Philharmonic, Seoul Philharmonic, WDR Sym- Sym- phony Orchestra of Boston, and he has performed frequently in chamber music phony Orchestra, and NDR Radio Philharmonic. An active performer of chamber Players and concerts at Symphony Hall and at Tanglewood. A winner of the Jeunesses Musicales music, Mr. Velinzon is a member of the Boston-based Walden Chamber auditions, he toured the United States twice with the New York String has appeared with the Boston Symphony Chamber Players. He has performed Sextet, ap- peared as a member of the Fine Arts Quartet, and has taught at the New chamber music in Europe, Japan, and the United States, and since 2009 has been a England Conservatory and at the Boston University Tanglewood Institute. He is music member of the LiveArts string quartet. Mr. Velinzon began playing the violin at direc- tor of the Boston Artists Ensemble, which he founded in 1980, and a member the age of six and graduated from the Leningrad School for Gifted Children. After of the Gramercy Trio, which received a Copland Foundation Grant for its first coming to the United States, he continued his studies at the Manhattan School of CD and made York debut in 2003 in Merkin Hall. In 1990, at Music and received bachelor's and master's degrees from the Juilliard School, its acclaimed New June the invitation Miller was a soloist at the working under the guidance of renowned pedagogue Dorothy DeLay. He made of Mstislav Rostropovich, Jonathan American Cello Mr. Miller has recorded the Beethoven cello sonatas with his New York recital debut at Carnegie Hall's Weill Recital Hall as a winner of the Congress. pianist Randall Artist International Young Artists Auditions. A prizewinner in the Heida Hermann Hodgkinson for Centaur records. International Competition in the United States and the Tibor Varga International Competition in Switzerland, he has performed as soloist with the National Sym- Cellist Owen Young joined the BSO in August 1991. A frequent collaborator in phony of Santo Domingo in the Dominican Republic and in Venezuela; made his chamber music concerts and festivals, he has also appeared as concerto soloist with New York debut with the Jupiter Symphony playing a Paganini concerto, and served numerous orchestras. He has appeared in the Tanglewood, Aspen, Banff, Davos, as soloist/concertmaster for the Paul Taylor Dance Company at New York's City Sunflower, Gateway, Brevard, and St. Barth's music festivals and is a founding Center. Mr. Velinzon's other solo engagements in the United States have included member of the innovative chamber ensemble Innuendo. Mr. Young's performances appearances with the Rondo Chamber Orchestra, Absolute Ensemble, Chappaqua have been broadcast on National Public Radio, WQED in Pittsburgh, WITF in Symphony, and the Metamorphoses Orchestra. Harrisburg, and WGBH in Boston. He has performed frequently with singer /song- writer James Taylor, including the nationally televised concert "James Taylor Live Steven Ansell joined the Boston Symphony Orchestra as principal viola in Sep- at the Beacon Theatre" in New York City. Mr. Young has been on the faculties of the tember 1996, occupying the Charles S. Dana chair, having already appeared with Boston Conservatory, the New England Conservatory Extension Division, and the the BSO in Symphony Hall as guest principal viola. A native of Seattle, he also Longy School of Music, and is currently active in Project STEP (String Training and remains a member of the acclaimed Muir String Quartet, which he co-founded in Education Program for students of color) and the BSO's Boston Music Education 1979, and with which he has toured extensively throughout the world. A graduate Collaborative. From 1991 to 1996 he was a Harvard-appointed resident tutor and of the Curtis Institute of Music, where he studied with Michael Tree and Karen director of concerts in Dunster House at Harvard University. His teachers included Tuttle, Mr. Ansell was named professor of viola at the University of Houston at Eleanor Osborn, Michael Grebanier, Anne Martindale Williams, and Aldo Parisot. twenty-one and became assistant principal viola of the Pittsburgh Symphony A cum laude graduate of with both bachelor's and master's degrees Orchestra under Andr6 Previn at twenty-three. As a recording artist he has received from Yale, Mr. Young was a Tanglewood Music Center Fellow in 1986 and 1987. After two Grand Prix du Disque awards and a Gramophone magazine award for Best winning an Orchestra Fellowship in 1987, he played with the Atlanta Symphony in Chamber Music Recording of the Year. He has appeared on PBS's "In Performance 1988 and with the Boston Symphony in 1988-89. He was a member of the New at the White House," has participated in the Tanglewood, Marlboro, Schleswig- Haven Symphony in 1986-87 and of the Pittsburgh Symphony from 1989 until he Holstein, Newport, Blossom, Spoleto, and Snowbird music festivals, and premiered joined the BSO in 1991. Ezra Laderman's Concerto for Viola and Orchestra with the Berkshire Symphony Orchestra. Mr. Ansell teaches at the Boston University College of Fine Arts. As principal viola of the Boston Symphony Orchestra, he is also a member of the Boston Symphony Chamber Players. His solo appearances with the Boston Sym- phony Orchestra have included Mozart's Sinfonia concertante for violin and viola, Bruch's Concerto for Viola, Clarinet, and Orchestra, Berlioz's Harold in Italy, and Richard Strauss's Don Quixote.

After attending Pablo Casals' master class at the University of California at Berke- ley, Jonathan Miller chose to abandon his study of literature there and devote him- self completely to the cello, training with Bernard Greenhouse of the Beaux Arts