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Gottschalk:559320 Bk Gottschalk US 19/4/07 10:04 PM Page 12 559320bk Gottschalk:559320 bk Gottschalk US 19/4/07 10:04 PM Page 12 Executive Director Sarah Hranac Violin Violoncello Laura Rosenberg Elizabeth Jones Reuben Blundell Jeremy Crosmer AMERICAN CLASSICS Artistic Director Jean McCullough Charlotte Crosmer Chanel Elaine Fuller Richard Rosenberg Bonnie Shappell Andrew Dunn Meredith Goode Elizabeth Whitehead Mary B. England+ Meryl Nash Micah Gangwer Alexia Pantanizopoulos Additonal Personnel for Trumpet Juliana Gaviria Jeffrey Rossman Symphony No. 2, ‘À Jared Bushee Sarah Hurd Monica Scott * Louis Moreau Montevideo’ Christopher Clausen K. Brandon Ironside Ashima Scripp David Harbuziuk Aaron Matthew Jacobs Georgia Sinko Flute Jimi Michiel Joanna Pepple Marshunda Andriel Smith GOTTSCHALK You-Kyoung Kim Jeffrey Missal Sara Rodriguez Boglárka Kiss Rick Shinozaki* Double Bass Sarah Mesko Trombone Rachel Silver Jordan Coleman Symphonies Moises Paiewonsky Elizabeth Stancliffe Brian Dollinger Oboe Christopher Reaves Maria Stefanova Kyle Mishler Aaron Hill Christopher Woody Kate Stenberg* Roy Murdock Nos. 1 and 2 Terence Kirchgessner Marques Young Jasper Wood* Tony Smith Kathryn Langley KumJoung You (‘A Night in the Tropics’ Erin Wharton Tuba Conducting assistants James Rees Viola Rei Hotoda Clarinet Kevin Sanders Josephine Cox Adam Turner and ‘À Montevideo’) Wilfredo Figueroa Dustin Frieda C. Paige Vickery Aaron Levine Jon Schultz Eric Hammelman + Paul Vincent Petrucelly Kabin Thomas* Luke Hubbard Recording Engineers Escenas Campestres Aaron D. Scott Francesca Hussin Jake Danson-Faraday Timpani & Percussion Mattie Kaiser Julian L. Ferraldo Bassoon Kevin M. Coleman, II Jonathan Euntae Kim Paul Griffith* Cubanas Nicole Egaña Scott Crawford Anne Lanzilotti Christina Havens Matthew Kallend Charlton Lee * Turner Evan Kirk Richard Ramberg Scott Koskoski Margaret Prechtl* Dana Salminen Célèbre Tarentelle Horn Trent Leasure Pablo Saelzer Brett Thomas Takacs Erik Finley Matthew Robotham Ellen M. Tollefson Trent Watkins Lowell Greer * Lanson Wells Rachel Hands Hot Springs Festival * mentor + associate Hot Springs Music Festival www.hotmusic.org Symphony Orchestra Richard Rosenberg 8.559320 12 559320bk Gottschalk:559320 bk Gottschalk US 19/4/07 10:03 PM Page 2 Louis Moreau Gottschalk (1829-1869) Hot Springs Music Festival Symphony Orchestra Complete Works for Orchestra Flute Trumpet James Farley Heather Hanson Symphonie No. 2, ‘À Montevideo’, 9 Ave Maria, RO10 (c.1864) 5:56 Karen Busler * Spencer Aston Juliana Gaviria Maren Hobbs Jennifer Chen Kyle Koronka Kent Graber Edward Haskins RO257 (1868/1869) ac 11:13 Arranged for voice and orchestra by Richard Carol Dale + Wesley Miller Andrew Irvin * Jason Jupiterwala Rosenberg, 2003) 1 Andante 2:30 Nicholas Dragga Frederick Sienkiewicz Jennifer Johnson Benjamin Katzen 2 Presto—Maestoso 8:43 Kara Fortenberry Matthew Sonneborn * Javier Laya Shara Long La Casa del Joven Enrique por Méhul – Sun Joo Lee Kathleen Luster Célèbre Tarentelle pour piano et orchestre, Gran overture, RO 54b (1861) Oboe Trombone Ashley Lesh Emily Persa RO259 (1868) ac (‘La Chasse du jeune Henri’ or Cynthia Barbanera David Jackson * Nicole Melki David Peyton 3 Tempo di Tarentelle 6:07 ‘Young Henry’s Hunt’, overture) Jennifer Bernard Samantha Keehn Paul Marroquin Gregory Sauer * arranged by Louis Moreau Gottschalk after Jared Hauser * Charles Morris Lauren Porcaro Guillermo Teniente Escenas Campestres Cubanas – the overture by Étienne-Nicolas Méhul be Kristin Naigus Joseph Muñoz Keith Redpath * Opéra en 1 acte, RO77 (1859/1860) ae 13:23 0 Andante—Allegro 11:07 Lindsay Taylor Tim Redman Sara Rodriguez Double Bass 4 Tempo de danza: Moderato 2:27 Peter Rovit* Mintzu Chao 5 Più lento 8:01 Symphonie romantique, ‘La nuit des Clarinet Tuba Bennett Ryel John Chiego * 6 Danza 1:37 tropiques’ (‘A Night in The Tropics’), David B. Halperin Paul Carlson Elizabeth Stancliffe Matthew Grant 7 Tempo de danza: Moderato 1:18 RO255 (1859) * e 16:14 Richard Hawkins * Michael Forbes * Janet Sung * Takahiro Morooka ! I. Noche en los Tropicos 10:09 Aaron Levine Lisa Hocking Heather Wickersham Alexander Smith 8 Variations de concert sur l’hymne portugais @ II. Festa Criolla 6:05 Paul Vincent Petrucelly James Langenberg Jude Ziliak Tony Smith du Roi Louis I, RO289 (1869) ad 12:32 Jonathan Salter David Troupe David Snyder Percussion Viola Eric Huber Irma Arambula Tiple a. First recording of the composer’s original version. Bassoon Vincent Jackson Stephanie Falash Don Vappie * b. World première recording. Derek Bannasch Matthew Kallend Nicole Feryok c. Edited by Richard Rosenberg Rene Encina Brian Manchen Rudolf Haken * Conducting Assistants d. Reconstructed and edited by Michael Gurt and Richard Rosenberg Elizabeth Kocses Matthew McClung * Rafael H. Howell Ingrid Lestrud e. Reconstructed and edited by Richard Rosenberg Kristen Sonneborn * Kayla Ireland Philip Mann Benjamin Yingst Harp Yunior Lopez * Symphonie romantique, ‘La nuit des tropiques’ is also available on Naxos 8.559036. Jennifer Betzer Joanna Mendoza * Recording Engineering Horn Shana Norton * Victoria Moore Assistants Elizabeth Jones Brittany Lynn Osman Ryan Dougherty Anna Kucia Violin Oliver Silerio Brian Gerstle Eldon Matlick * Matias Arámbula IV Charles Troester David Torre Christopher Naugle Maria Bessmeltseva Sarah Weber Jennifer Ratchford Sholtis + Yesenia Campos Rachel White Repetiteur Michelle Stebleton * Lucas Carter Gary Dwayne Casity, Jr. Brandon Stewart Elizabeth Chrisman Violoncello Nancy Summit Martin Dalton Wesley Baldwin * Piano Technician Nick Wolny Bonnie Deeds Erin E. Cassel Lloyd Whitcomb Andrew Dunn Scott E. Crowley 8.559320 2 11 8.559320 559320bk Gottschalk:559320 bk Gottschalk US 19/4/07 10:04 PM Page 10 Baritone: Baritone: Known to his New Orleans friends as the “Chopin of the in Brazil, or in Philadelphia, where a batch of Ah, ven aquí corazon. Oh, come to me, my heart. Creoles”, Louis Moreau Gottschalk might also be called Gottschalk manuscript appeared as recently as the Ah, ven a mi lado a baylar. Come here, my heart, and dance with me. “the Crescent City’s Schubert”. Like Schubert, 1980s. Until then, we must rest content with the Gottschalk composed lyrical works for piano and comprehensive collection of surviving orchestral and Soprano: Soprano: understood every subtlety of the human voice. Like operatic works by Gottschalk that Richard Rosenberg Ay, nunca, nunca, I don’t believe a word you say, Schubert, too, he succeeded in taking only the first steps offers in this remarkable recording. No te quiero creer. Don’t waste your breath. towards fulfilling his dream of composing great works This recording is remarkable for several reasons. No sigas más, Tell me no more. for orchestra and especially operas. First, every note had to be meticulously reconstructed Ay, no te quiero creer. I do not hear your song, so good-bye. Schubert’s problem was that he could not find from Gottschalk’s often smudged manuscripts or, Oigo el zapateado, yo, I hear a different song, patrons for his larger works. Gottschalk’s was simpler: worse, from bad copies of them. Others have tried to do Y bamos a baylar. and I’m off to dance. after his father’s early death young Moreau (as he was this but failed. Howard Shanet in 1948 produced a known) had to support his spendthrift mother and four reduced score of the so-called A Night in the Tropics 6 III. 6 III. sisters. From the age of 23 to his death he lived the life (actually, Symphonie romantique “La nuit des Soprano: Soprano: of an itinerant virtuoso. Criss-crossing Europe, North tropiques”), but lost all Gottschalk’s textures in the Vivir es gozar, amar es vivir, To enjoy is to live, America, and then the entirety of South America, he process. Eugene List and friends attempted the same in Que bello es cantar, To live is to love. performed thousands of concerts. Living such a life, it is 1969 but focused on Gottschalk’s melodies rather than Ay que bello es baylar. How beautiful it is to sing, a miracle that he could still find time to pen scores of his rich orchestrations, which they butchered. Gunther Escucho el canto; And, oh, how beautiful to dance. works for piano, several full operas, and a half dozen Schuller’s Gottschalk reconstruction was better but still Ay que dulce canto. I hear only the song: tra, la, la, la. orchestral compositions. took liberties with the original, and his effort was Tu, mi ternura, Oh, you song so sweet, la, la, la. There was no time, however, to polish the larger confined to the Symphonie romantique. Rosenberg, by Tu que calmas el quebranto, Your tenderness calms my heartaches. works and prepare them for publication, let alone to contrast, has tackled all the surviving orchestral and Ven que empieza el bayle. Come and begin the dance. compose more of them. Moreau thought all this would operatic manuscripts, with great fidelity to the original Ven, mi bien y mi amor, Come, my pleasure and my love, la, la, la. happen after he returned to the United States, which he text and great success overall. Ya oyes la Danza. Even now you can hear the dance. expected to do in 1870, but at the age of 39 he The intricacy of this task can scarcely be imagined. Ay, que dulce canto. How sweet is the song, succumbed to peritonitis in Rio de Janeiro and these The recently rediscovered manuscript of the Méhul Ay que dulce el bayle. Oh, how sweet is the dance. dreams all died with him. In the ensuing confusion the work includes a nearly-complete set of parts but no Ven aquí mi amor. Come here, my love. manuscripts of several of his operas vanished and trunk- score. Rosenberg had to fashion à la Gottschalk missing loads of other works for orchestra, piano, or voice were parts for viola, four horns, bassoons and timpani. A lost. missing sheet of manuscript from the Symphonie English translation by Laura Rosenberg, What was Gottschalk’s opera Isaura di Salerno, romantique left a hole of several measures that had to be based on Marcello Piras’ reconstruction based on a Spanish novel of murder and vengeance? convincingly filled on the basis of partial notations.
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