BOSTON SYMPHONY CHAMBER PLAYERS Sunday, October 10, 2004, at 3 p.m. at Jordan Hall NH^DL

BOSTON SYMPHONY CHAMBER PLAYERS <" w, Malcolm Lowe, violin William R. Hudgins, Haldan Martinson, Richard Svoboda, Jules Eskin, James Sommerville, horn

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: -' Edwin Barker, Charles Schlueter, ' a > i John Ferrillo, Ronald Barron, " $85 • with VYTAS BAKSYS, and harmonium and ASSISTING BSO MEMBERS Mark McEwen, oboe Gregg Henegar, bassoon ',.^,.-. ,•.;:,' _;;: y ,-;.;.; : .^ Craig Nordstrom, clarinet Jonathan Menkis, horn V/ Suzanne Nelsen, bassoon Jay Wadenpfuhl mmmmi

DVORAK Bagatelles, Opus 47, for two , cello, and harmonium Allegretto scherzando WA Tempo di minuetto. Grazioso '"' mmsaw Allegretto scherzando BIKB!I Canon. Andante con moto mm Poco allegro

STARER Concerto a tre for clarinet, trumpet, trombone, and piano ( 1954) Allegro Andante Molto allegro e giocoso; "Trialogue"

o MARTINU La Revue de cuisine, for violin, cello, clarinet, bassoon, ftnMiS trumpet, and piano

Prologue. Allegretto {Marche) Tango m*w Charleston Final. Marche

INTERMISSION

DVORAK Serenade in D minor, Opus 44, for two , two , two , , three horns, cello, and double bass

Moderato, quasi Marcia Tempo di Menuetto; Trio Andante con moto •.-:.'" Finale: Allegro molto mTsBm in Steinway and Sons Piano mm Nonesuch, Deutsche Grammophon, Philips, RCA, and New World records )

- Antonin Dvorak ( 1 84 1 1 904 Bagatelles, Opus 47, for two violins, cello, and harmonium

The Bagatelles {Malickosti in the original Czech) of Antonin Dvorak are real house music, written for a friend named Srb-Debrnov who had a harmonium, and designed to be played in his home. The composer wrote this delightful miniature suite in 1878, just about the time that his first set of Slavonic Dances was on the verge of making him famous overnight.

Though in its published form Dvorak allowed the option of piano in place of the harmo- nium, the color and mood of the pieces fit the non-percussive quality of the harmonium far more satisfactorily. The first and third of the five short movements are thematically related. The second is a minuet with a dotted eighth-note figure somewhere in each of its 109 bars; this has the potential of palling on the ear, but Dvorak places this figure so adroitly over the harmonies as to cajole instead. A canonic movement is charmingly plain- tive, while a jolly polka recalls the tuneful theme of the opening. Dvorak is one of the greatest of romantic composers of chamber music, but rarely did he offer a work so clearly designed for sheer leisure-time pleasure at home.

Robert Starer (1924-2001)

Concerto a tre for clarinet, trumpet, trombone, and piano (1954)

Robert Starer grew up in Vienna but was sent by his parents to Palestine at fourteen, a few months after the Nazi takeover of Austria. He had attended the State Academy for Music in Vienna before all Jews were expelled. He continued his education in private study with Joseph Tal in Jerusalem, first in piano lessons and later in composition, and also attended the Jerusalem Conservatory. It was in Palestine that he began his life as a profes- sional musician, accompanying instrumentalists and singers on the piano and playing harp in the radio orchestra. From 1943 to 1946 he was enlisted in the British Royal Air Force, and following the war was granted assistance to attend the Royal Academy of Music in London. Their rolls being filled, he accepted the alternative of the Juilliard School in New

York. He immediately passed all of the examinations required of Juilliard's students. In his readable, anecdotal 1987 memoir Continuo, he notes "1 was graduated, so to speak, on the day I entered." He continued his training there as a graduate student and faculty member (teaching there until 1974), and in 1948 he was a Fellow at Tanglewood, where he worked with Copland. He also worked extensively as a touring accompanist. For the rest of his life he was based in New York. He became a U.S. citizen in 1957. Starer's works have been performed by most of the leading orchestras in the U.S. He had a particularly strong relationship with conductor William Steinberg, having met him

A SPECIAL CONCERT AT SYMPHONY HALL Sunday, November 14, 2004, at 3 p.m. BOSTON SYMPHONY CHAMBER PLAYERS with JAMES LEVINE, piano

MOZART Quintet in E-flat for piano and winds, K.452 • DUTILLEUX Us Citations, Diptych for oboe, harpsichord, double bass, and percussion • SCHUBERT Quintet in A for piano and strings, D.667, Trout

Single tickets ranging from $29 to $105 are available at the Symphony Hall box office, by calling SymphonyCharge at (617) 266-1200, or at www.bso.org. On the day of the concert, tickets are available only at the Symphony Hall box office.

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with the Pittsburgh Symphony, prior to the conductor's years as incursions from the classical during Steinberg's tenure tradition, but they enter wholeheartedly into the spirit of the orchestral works were the Boston Symphony's music director. Several of the composer's thing. The score recalls a more familiar work of the same period that was based on popula No. in premiered in Pittsburgh, and Steinberg led BSO performances of his Symphony 3 dance patterns—Walton's Fagade. Martinu twists the cliches of commercial music with cello, orchestra (with Silverstein and Jules 1971 and his Concerto for violin, and Joseph unexpected accents, irregular phrase lengths, changing meters, or unusual turns of har- season. Itzhak Perlman and the BSO, mony. Eskin as soloists) in the 1969-70 In October 1981, But the slow, seductive mystery of the Tango and the dash of the Charleston captui Seiji Ozawa conducting, gave the world premiere performances of Starer's , the spirit of the Roaring 70s with high humor.

subsequently recording it in 1983 for EMI. In addition to his regular concert-music activi-

ties, Starer wrote music instruction books as well as numerous pieces for educational use. Antonfn Dvorak Starer wrote his Concerto a tre for clarinet, trumpet, trombone, and strings in 1954 for Serenade in D minor for winds, Opus 44 the Little Orchestra Society and conductor Thomas Scherman, who premiered it on In November 22, 1954. It was this piece that later served as Starer's introduction to Steinberg July 1874, Antonfn Dvorak submitted fifteen works, including his Third and Fourth

when the latter conducted it in Pittsburgh, and it was also the first of Starer's pieces chore- symphonies, into consideration for an Austrian state stipend for "young, poor, and talented ographed by Martha Graham (as "Secular Games"). Starer himself made the chamber painters, sculptors, and musicians, in the Austrian half of the [Hapsburg] Empire." The judges reduction for the three soloists plus piano soon after the original premiere. The piece is in included Vienna State Opera conductor Johann Herbeck, the critic Eduard Hanslick, and three movements, in the pattern fast-slow-fast. In its treatment of tonality and chromati- Johannes Brahms. Dvorak was one of the winners, as he would be again in 1876 and 1877, cism as well as rhythm, Starer's musical language has a kinship with Hindemith's neo- the year Brahms really set him on his way by championing him to the publisher Nicolaus classicism, with also more than a touch of jazz-influenced syncopation and harmony. In Simrock, encouraging the latter to issue Dvorak's Moravian Duets for soprano and contralto. Concerto a tre, although the three soloists are independent entities, the two brass instru- The Moravian Duets, Opus 32, and the Slavonic Dances, Opus 46 (the latter specifically ments often work closely together while the clarinet takes on more active material suited commissioned by Simrock), were both published in 1878, and a quick succession of further to its idiom. In general the textures, particularly in the first movement, are those of the publications, followed by performances throughout Europe and as far afield as Cincinnati Baroque concerto grosso model, with passages for the soloists either together or separately and New York, began to earn Dvorak an international reputation.

over simple accompaniment alternating with substantial music in the piano. The first and Published originally by Simrock ("all rights reserved"), the D minor Serenade for

last movements are high-energy and driven by incisive rhythms. The second is a sedate Winds—actually for two oboes, two clarinets, two bassoons, contrabassoon, and three waltz. In the last movement a burlesque "Trialogue," a conversation among the three horns, with cello and double bass providing a low-string foundation—dates from this soloists without accompaniment, adds a touch of humor. Concerto a tre is about eighteen period. Dvorak had already composed a Serenade for String Orchestra in May 1875. The minutes long. companion-work for winds was written between January 4 and 18, 1878, and was dedicated

to the German critic Louis Ehlert. The first performance was given on November 17, 1878, Bohuslav Martinu (1890-1959) in Prague, by members of the orchestra of the Provisional Theater under the composers La Revue de cuisine, for violin, cello, clarinet, bassoon, trumpet, and piano direction. For a near relative in the orchestral repertory to Dvorak's Wind Serenade one might The thirty-three-year-old Bohuslav Martinu went to Paris in 1923 mainly to study with look to Brahms's Serenade No. 2 in A, Opus 16, written for winds and strings, but without Albert Roussel, whose music he admired enormously; but he could hardly expect to avoid other musical trends in the city that was then one of the world's most vibrant musical cen- ters. Impressed by the unstuffy music of Les Six, inspired in turn by the refreshing icono- COMING CONCERTS AT JORDAN HALL clasms of Erik Satie, Martinu wrote several short ballet scores and other works either for Sunday, January 9, 2004, at 3 p.m. J.S. BACH (arr. MOZART) Preludes piano or chamber orchestra using elements of jazz and the new styles of popular music that and Fugues for string trio, K.404a • VILLA-LOBOS Trio for oboe, clarinet, and had invaded Europe from America. On Easter of 1927 he completed the score of a brief, bassoon • BRAHMS String Quintet No. 2 in G, Op. 1 1 lighthearted ballet performed in Prague that November with the title Pokuseni svatouska • hmce ("Temptation of the Saintly Pot"). The scenario told a slender tale in which the love Sunday, March 20, at 3 p.m. COPLAND Elegies for violin and between Pot and Lid is almost broken up by the seductive influence of the suave Twirling BARBER Summer Music for wind quintet, Op. 31 • STRAUSS (arr.

Stick. Dishcloth flirts with Lid, who is challenged to a duel by Broom. All ends happily as HASENOHRL) Till Eulenspiegel einmal anders!, tor violin, clarinet, bassoon, horn, Pot returns to Lid and Twirling Stick goes off with Dishcloth. and double bass • BEETHOVEN Septet in E-flat for clarinet, horn, bassoon,

The music for this charming trifle was successful enough in Prague as a ballet, but it violin, viola, cello, and double bass, Op. 20 proved to be a sensation when performed as a concert suite with the title La Revue de cuisine Sunday, May 8, at 3 p.m. MOZART Duo in E-flat for violin and viola, K.424 ("Kitchen Revue") at one of the Cortpt Concerts in Paris early in 1930. The publisher • BRITTEN Phantasy, Op. 2, for oboe, violin, viola, and cello • FINE Partita for Alphonse Leduc undertook to print the score immediately and to bring out a number of Wind Quintet • PROKOFIEV Quintet in G minor, Op. 39, for oboe, clarinet, Martinu's other works; thus, this cheeky sextet proved to be an important stepping stone in violin, viola, and double bass the forwarding of his career. In his later years, Martinu looked back on the score as one of Single tickets at $30, $22, and $17 can be- purchased at the Symphony Hall box office, his most perfect. Three of the instruments—clarinet, trumpet, and piano—were standard by calling SymphonyCharge at (617) 266-1200, or at www.bso.org. On the day of the elements in the actual jaz: or dance bands of the period, and Martinu often gives them concert, tickets are available only at the Jordan Hall box office. musical gestures similar to those of popular music. The bassoon, violin, and cello were Brahms published a revised version in ARTISTS violins. Though he composed it originally in 1858-59, (Brahms's Serenade No. 1 in D, much 1875, and this was presumably known to Dvorak. One of the world's most distinguished chamber music ensembles sponsored by a major sym- both these works represent exam- larger in scale, was written in 1857-58, just before Opus 16; phony orchestra and made up of that orchestra's principal players, the Boston Symphony before he finally produced a completed ples of Brahms's orchestral output dating from long Chamber Players include the Boston Symphony's first-desk string, woodwind, brass, and from his own Opus Serenade is symphony in 1876.) Perhaps Dvorak's omission of flutes 44 percussion players. Founded in 1964 during Erich Leinsdorf's tenure as BSO music director, major work in that same genre. a bow to the dark-hued orchestral palette of Brahms's A the Chamber Players can perform virtually any work within the vast chamber music lit- 18th-century idea of beginning and The opening of Dvorak's piece harks back to the erature; they can expand their range of repertory by calling upon other BSO members or performers actually entered while per- ending a serenade with a march. (Sometimes the enlisting the services of such distinguished guest artists as pianists Emanuel Ax and Andre Dvorak's tone is one of (mock?) forming the march music, and exited to it afterwards.) Previn. The Chamber Players' activities include an annual four-concert series in Boston's being interrupted by a more pastoral, lively solemnity, the D minor of the march proper Jordan Hall at the New England Conservatory of Music, regular appearances at Tanglewood, di Menuetto" reminds us that the formal section in F major. The second-movement "Tempo and a busy schedule of touring and recording. In addition to appearances throughout the one-two-three, one-two-three rhythm, had dance of Mozart's day, with its clearly audible United States, the group has toured Europe and Japan on numerous occasions; they have minuets of late Haydn to the energetic gone through changes, from the more bumptious also performed in South America and the Soviet Union. Among the Chamber Players' intermezzi of Brahms (consider, e.g., the Beethovenian scherzo to the graceful symphonic recordings on Nonesuch are the Beethoven Septet and Schubert Octet; Smetana's G major Brahms's major Serenade). Dvorak here gives us fourth-movement "Quasi menuetto" of A piano trio and Dvorak's string sextet; the Brahms string quintets; John Harbison's Words country, with birds, babbling outdoor music, a pastoral suggesting his beloved Bohemian from Paterson with baritone Sanford Sylvan; a Copland album with pianist Gilbert Kalish, the woods in the Trio section of the movement. brook, and, perhaps, a chase through and a disc of music by Leon Kirchner. For Philips the ensemble has recorded the quintets center of the work, accounting for nearly The Andante is the lyrical and emotional for clarinet and strings by Mozart and Brahms with former BSO principal clarinet, the late central climax is set in even greater relief by the one-third the Serenade's total length. The Harold Wright. Deutsche Grammophon has reissued, on a single compact disc, the Chamber that characterizes the rest of the movement. Like- general sense of breadth and relaxation Players' recordings of Stravinsky's Octet for Winds, Pastorale, Ragtime, and Concertino for undercurrent of the Andante's climax takes its time before wise, the rhythmically dramatic Twelve Instruments, and Johann Strauss waltzes as arranged for chamber ensemble by of opening. The finale is jaunty and good-natured, giving way again to the repose the Schoenberg, Berg, and Webern. thanks largely to Dvorak's lively choice of rhythms and the color contrasts of the different

instruments. Following a more lyrical central episode, a dramatic buildup brings an unex- in a variety of Pianist Vytas J. Baksys is an active freelance collaborator performing return of the first-movement march material, which in turn gives way to the again- pected recitals, competitions, and other musical settings employing various styles and genres jovial closing pages. throughout North America, Europe, and Asia. Since 1989 he has been the faculty pianist

is keyboardist with —Notes by Steven Ledbetter (Dvorak Bagatelles; Martinu) of the Fellowship Conducting Program at Tanglewood. He a frequent other area ensem- Robert Kirzinger (Starer), and Marc Mandel (Dvorak Serenade) the Boston Symphony and Boston Pops orchestras, and works with such bles as the Boston Secession, Concord Chamber Music Society, South Coast Chamber

Music Society, and the Rivers Music School. Of Lithuanian descent, Mr. Baksys is a gradu- ate of the New England Conservatory of Music and State University of New York at Stony Brook. He has participated in recordings for RCA, CRI, Golden Crest, Sony Classical,

Deutsche Grammophon, and Warner Brothers. This is his third appearance with the Boston Symphony Chamber Players.

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