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programby Dr. Richard E. Rodda notes

for Harpsi- his Rainbow Body won the First Prize of If Falling Is a Leaf £25,000 in the Masterprize Competition, chord and Strings (2019) a London-based, British-American part- World Premiere nership of EMI, the London Symphony Commissioned by the Allentown Sym- Orchestra, Gramophone magazine, phony Orchestra Classic FM and National Public Radio Christopher Theofanidis ■ born in whose winner is chosen jointly by the 1967 public and a panel of experts; Rainbow Christopher Theofanidis, one of Amer- Body has subsequently become one of ica’s most prominent composers, was the most frequently performed pieces by born in Dallas on December 18, 1967, a living composer. and studied at the University of Hous- Theofanidis wrote ofIf Falling Is a ton (B.M.), Eastman School of Music Leaf, commissioned by the Allentown (M.M.) and Yale University (M.A. and Symphony Orchestra, “The title of this D.M.A.). He has served on the faculty of work is from a poem that was written for the Yale University School of Music since this occasion by a friend of mine, called September 2008; his previous teach- If falling is a leaf. Like the Vivaldi Four ing appointments include the Peabody Seasons, it is inspired from a poem, but Institute in Baltimore, Juilliard School, the poem itself is also responding to a University of Houston, American Festi- David Hockney painting called Autumn val of the Arts and Texas Piano Institute. Leaves. I decided that a single season In summer 2014, he joined the faculties seemed to be in order for this composi- the Aspen Music Festival, Atlantic Cen- tion, and I love the vibrancy of fall — the ter for the Arts and HighSCORE Festival colors, the wind, the air.” in . Theofanidis has held residencies with the Pittsburgh Symphony, Califor- The Four Seasons of Bue- nia Symphony and Norfolk Chamber nos Aires for Violin and Or- Music Festival, and has also served as chestra (1968) a delegate to the United States–Japan ■ Foundation’s Leadership Program. His Astor Piazzolla 1921-1992 numerous awards include the Prix de The greatest master of the modern Rome, a Guggenheim Fellowship, Barlow was Astor Piazzolla, born in Mar Prize, Charles Ives Fellowship from the Del Plata, , a resort town south American Academy of Arts and Letters, of , in 1921 and raised in Bearns Prize of Columbia University, New York City, where he lived with his Fulbright Fellowship for study in France, father from 1924 to 1937. Before Astor six ASCAP Morton Gould Prizes, and a was ten years old, his musical talents had 2007 Grammy nomination for The Here been discovered by , then and Now for chorus and orchestra, based the most famous of all performers and on the poetry of Rumi. In October 2003, composers of and a cultural hero March 7-8, 2020, page 2 in Argentina. At Gardel’s urging, the The Four Seasons (ca. 1720) young Astor returned to Buenos Aires ■ in 1937 and joined the popular tango Antonio Vivaldi 1678-1741 orchestra of Anibal Troilo as arranger TheGazette d’ of December and bandoneón player. Piazzolla studied 14, 1725 announced the issuance by the classical composition with Alberto local publisher Michele Carlo Le Cène Ginastera in Buenos Aires, and in 1954, of a collection of twelve concertos for he wrote a symphony for the Buenos solo violin and orchestra by Antonio Aires Philharmonic that earned him a Vivaldi — Il Cimento dell’Armonia e scholarship to study in Paris with Nadia dell’Inventione, or “The Contest between Boulanger. When Piazzolla returned Harmony and Invention,” Op. 8. The to Buenos Aires in 1956, he founded works were printed with a flowery dedi- his own performing group, and began cation typical of the time to the Bohemi- to create a modern style for the tango an Count Wenzel von Morzin, a distant that combined elements of traditional cousin of Haydn’s patron before he came tango, Argentinean folk music and into the employ of the Esterházy family contemporary classical, and popular in 1761. On the title page, Vivaldi de- techniques into a “” that scribed himself as the “maestro in Italy” was as suitable for the concert hall as for to the Count, though there is no record the dance floor. Piazzolla toured widely, of his having held a formal position with recorded frequently and composed him. Vivaldi probably met Morzin when incessantly until he suffered a stroke in he worked in Mantua from 1718 to 1720 Paris in August 1990. He died in Buenos for the Habsburg governor of that city, Aires on July 5, 1992. Prince Philipp of Hessen-Darmstadt, Piazzolla realized his electrifying blend and apparently provided the Bohemian of the fire and passion of the traditional Count with an occasional composi- tango with the vast expressive resources tion on demand. (A bassoon concerto, of modern harmony, texture and sonor- RV 496, is headed with Morzin’s name. ity in some 750 widely varied works that Vivaldi claimed that Morzin had been explore the genre’s remarkable expres- enjoying the concertos of the 1725 Op. sive range, from violent to sensual, from 8 set “for some years,” implying earlier witty to melancholy, from intimate to composition dates and a certain circula- theatrical. tion of this music in manuscript copies, Among Piazzolla’s most ambitious and hoped that their appearance in print concert works is Las Cuatro Estaciones would please his patron. Porteñas (“The Four Seasons of Buenos Aires”), published originally for piano Symphony No. 6 in F major, Op. solo in 1968 and later arranged for his 68, “Pastoral” (1807-1808) own ensemble (he often used one of the Ludwig van Beethoven ■ 1770 -1827 movements to open his concerts) and for Beethoven gave each movement of his strings and piano. The four movements, “Pastoral” Symphony a title. The first beginning with Spring, are not specifical- movement, filled with verdant sweet- ly pictorial, as are Vivaldi’s well-known ness and good humor, is headed The precedents, but are instead general Awakening of Cheerful Feelings at the evocations of the changing seasons in Arrival in the Country. The violins pres- Piazzolla’s native Argentina. March 7-8, 2020, page 3 ent a simple theme that pauses briefly after only four measures, as though the composer were alighting from a coach and taking a deep breath of the fragrant air before beginning his walk along a shaded path. The melody grows more vigorous before it quiets to lead to the second theme, a descending motive played by violins. Again, the spirits swell and then relax before the main theme returns to occupy most of the develop- ment. The recapitulation returns the themes of the exposition in more richly orchestrated settings. Scene at the Brook exudes an air of tranquility amid gentle activity. The sonata-form movement starts with a fragmentary idea in the first violins sounded above a rich accompani- ment. The second subject begins with a descending motion, like that of the first movement, but then turns back upward to form an inverted arch. A development section utilizing the main theme follows. The recapitulation recalls the earlier themes with enriched orchestration. In the closing pages of this movement, the rustling accompaniment ceases while all Nature seems to hold its breath to listen to the songs of three birds — night- ingale, dove and cuckoo. Twice this tiny avian concert is heard before the movement closes. Merry Gathering of the Peasants is filled with a rustic bump- tiousness and simple humor that recall a hearty if somewhat ungainly country dance; the central trio is a stomping dance. The festivity is halted mid-step by distant thunder portending a Storm. As the tempest passes over the horizon, the silvery voice of the flute leads into the finale, Shepherd’s Song: Joyful, Thank- ful Feelings after the Storm. The clarinet sings the unpretentious melody of a shepherd, which returns, rondo-fashion, to support the form of the movement. ©2019 Dr. Richard E. Rodda Allentown Symphony Orchestra

MARCH 7-8, 2020 8:00 P.M., SYMPHONY HALL

PROGRAM

DIANE M. WITTRY music director/conductor

If Falling Is a Leaf CHRISTOPHER THEOFANIDIS for Harpsichord and Strings World Premiere Commissioned by the Allentown Symphony orchestra

Selections from: The Four Seasons of Buenos Aires ASTOR PIAZZOLLA The Four Seasons ANTONIO VIVALDI Violin Soloist: Lindsay Deutsch Spring (Op. 8, No. 1, R. 269) VIVALDI I. The spring has come: Allegro Spring in Buenos Aires PIAZZOLLA Summer in Buenos Aires Summer (Op. 8, No. 2, R. 315) VIVALDI III. Alas, fears of summer heat are borne out: Presto Autumn (Op. 8, No. 3, R. 293) III. At dawn the hunters set out: Allegro Winter in Buenos Aires PIAZZOLLA Winter (Op. 8, No. 4, R. 297) VIVALDI II. Spending quiet and happy days by the fire: Largo III. Walking on the ice with slow steps: Allegro

intermission

Symphony No. 6 in F major, LUDWIG VAN BEETHOVEN Op. 68, “Pastoral” The Awakening of Cheerful Feelings at the Arrival Scene at the Brook: Andante molto mosso Merry Gathering of the Peasants: Allegro — Storm: Allegro — Shepherd’s Song: Joyful, Thankful Feelings after the Storm: Allegretto