Dinnerstein Premieres Glass

Philip Glass (b. 1937) Symphony No. 3 Movement I Movement II Movement III Movement IV

J.S. Bach (1685–1750) Concerto for Keyboard and Strings in G minor, BWV 1058 Allegro Andante Allegro assai

INTERMISSION

J. S. Bach Brandenburg Concerto No. 3, BWV 1048 Allegro Adagio Allegro

Philip Glass Piano Concerto No. 3 World Premiere Movement I Movement II Movement III (for Arvo Pärt)

A FAR CRY SEASON 11 VIOLIN In its 10 years, the Grammy-nominated string orchestra A FAR CRY has taken an omnivorous approach to its music-making. Known for Alex Fortes high energy, according to the New York Times, A Far Cry “brims with Annie Rabbat personality or, better, personalities, many and varied.” A Far Cry was Guillaume Pirard* founded in 2007 by a tightly-knit collective of young professional musicians, and since the beginning has fostered those personalities. The Jae Cosmos Lee self-conducted orchestra has developed an innovative process where Jesse Irons decisions are made collectively and leadership rotates among the Criers. Megumi Stohs Lewis This democratic structure has helped generate consistently thoughtful, innovative, and unpredictable programming leading to collaborations Miki-Sophia Cloud with artists such as Yo-Yo Ma, Jake Shimabukuro, Gabriel Kahane, and Omar Chen Guey Urbanity Dance. Whether playing a new commission from composers such as Ted Hearne, , or Andrew Norman, or a work by Zenas Hsu* Mozart, Haydn, or Piazzolla—A Far Cry takes audiences on a unique ride.

The 18 Criers are proud to call home, rehearsing at their storefront VIOLA music center in Jamaica Plain and presenting a nine-concert series, Frank Shaw+ with performances at both New England Conservatory’s Jordan Hall Jason Fisher and St. John’s Episcopal Church in Jamaica Plain. A Far Cry has also Rimbo Wong* been Chamber Orchestra in Residence at the Isabella Stewart Gardner Museum since 2011. A Far Cry’s innovative hometown programming has Sarah Darling garnered the group a national reputation. An insightful perspective, along with a propensity for engaging collaboration, are the group’s hallmarks.

CELLO In 2014, A Far Cry launched its in-house label, Crier Records, with the Karen Ouzounian album, which met with critical acclaim and a Grammy nomination. Michael Unterman The second release, Law of Mosaics, was included on many 2014 Top-10 lists, notably from New Yorker music critic Alex Ross and WQXR’s Q2 Rafael Popper-Keizer Music, which named A Far Cry as one of the “Imagination-Grabbing, Trailblazing Artists of 2014.”

BASS In 2016-17, A Far Cry celebrated its tenth anniversary by, as the Boston Erik Higgins Globe says, “moving ever forward.” Energetic and insightful programs Karl Doty were on display in the group’s ambitious subscription series in Boston, residency concerts at the Isabella Stewart Gardner Museum, and increased tour activity (with concerts at the National Gallery of Art, ’s University Musical Society, and the Celebrity *Guest Crier Series of Boston). The season also featured an impressive list of +Crier Emeritus collaborators, including the adventurous vocal ensemble Roomful of Teeth, the Silk Road Ensemble, jazz pianist and composer Vijay Iyer, and clarinetist .

DINNERSTEIN PREMIERES GLASS A FAR CRY SEASON 11 that include the Lincoln Center Mostly Mozart Festival, the Aspen, Verbier, and Ravinia festivals; and performances with the Vienna Symphony Orchestra, Dresden Philharmonic, Staatskapelle Berlin, RAI National Symphony Orchestra, Royal Scottish National Orchestra, Czech Philharmonic, Danish National Symphony Orchestra, New York Philharmonic, Minnesota Orchestra, Atlanta Symphony, Baltimore Symphony, Montreal Symphony Orchestra, Melbourne Symphony Orchestra, Orquestra Sinfônica Brasileira, and the Tokyo Symphony.

Dinnerstein has played concerts throughout the U.S. for the Piatigorsky Foundation, an organization dedicated to bringing classical music to non-traditional venues. She gave the first classical music performance in the Louisiana state prison system at the Avoyelles Correctional Center, and performed at the Maryland Correctional Institution for Women in a concert organized by the Baltimore Symphony Orchestra. Dedicated to her community, in 2009 Dinnerstein founded Neighborhood Classics, a concert series open to the public hosted by New York public schools which raises funds for their music education programs.

Dinnerstein is a graduate of The where she was a student of Peter Serkin. She also studied with Solomon Mikowsky at the Manhattan School of Music and in London with Maria Curcio. She is on the faculty of the Mannes School of Music and is a Sony Classical artist. She is managed by Andrea Troolin at Ekonomisk Mgmt with booking representation through Helen Henson at Blu Ocean Arts.

American pianist SIMONE DINNERSTEIN is a searching and inventive artist who is motivated by a desire to find the musical core of every work she approaches. The New York-based pianist gained an international following with the remarkable success of her recording of Bach’s Goldberg Variations, which she independently raised the funds to record. Released in 2007 on Telarc, it ranked No. 1 on the U.S. Billboard Classical Chart in its first week of sales and was named to many “Best of 2007” lists including those of The New York Times, The Los Angeles Times, and The New Yorker.

Dinnerstein’s performance schedule has taken her around the world since her acclaimed New York recital debut at Carnegie Hall’s Weill Recital Hall in 2005, to venues including the Kennedy Center for the Performing Arts, Vienna Konzerthaus, Berlin Philharmonie, Sydney Opera House, Seoul Arts Center, and London’s Wigmore Hall; festivals

DINNERSTEIN PREMIERES GLASS A FAR CRY SEASON 11 Program Notes JOHANN SEBASTIAN BACH (1685–1750) CONCERTO FOR KEYBOARD AND STRINGS, BWV 1058 PHILIP GLASS (B.1937) SYMPHONY NO. 3 When was the “birth” of the solo keyboard concerto? In short, no one really knows, exactly. But many point to Bach’s Brandenburg No. 5 Classical and Romantic era symphonies relied on the momentum of as a key moment in the composer’s own progression toward penning key change—the harmonic propulsion that comes from the tension and the collection of seven keyboard concertos. Why? That Brandenburg release of dissonance to consonance. What one finds in the Symphony not only features a harpsichord as part of the group of soloists, but No. 3 of Philip Glass, a chamber work written originally for the contains an extended solo keyboard cadenza. Considering that the Stuttgart Chamber Orchestra, is more of a reliance on variations of harpsichord was typically used as a supporting instrument in an rhythm and pace. As with many works in the “minimalist” vein, there ensemble context (essentially functioning as the rhythm section), are many bars where specific patterns are repeated numerous times. keeping the bass line and tempo, it was quite a moment when the The ear of the listener becomes accustomed to the pattern (ideally to instrument moved toward the spotlight. the point of being lost within it) so that even a slight change can play a significant role. In 1723 Bach moved his family to Leipzig for a new job as Thomaskantor, or cantor of the St. Thomas church, which included In a brilliant gesture of tying this idea to the past, Glass employs the overseeing the music for four of the churches in town. Several years ancient repetitive chaconne structure in the third movement of the after the move, Bach also took over responsibilities as director of the symphony; in the chaconne, a harmonic sequence and/or bass line Collegium Musicum, a music society associated with the University. is recast over and over again, creating a foundation for a series of In the nascent days of public concerts (recalling that most organized variations built “on top.” The composer elaborates a bit on this and the concerts previously were the private affairs of royals and nobility), surrounding three movements in a previous set of liner notes from a members of the society (many of them students) could gather at Café recording of the work: Zimmerman coffee house to hear new compositions—including Bach’s new solo keyboard concertos. “The opening movement, a quiet, moderately paced piece, functions as a prelude to movements two and three, which are the main body of Bach aficionados might notice that BWV 1058 sounds familiar. The the symphony. The second movement mode of fast-moving compound keyboard concerto in G minor is a reworking by the composer of his meters explores the textures from unison to multi-harmonic writing BWV 1041: the violin concerto in A minor. for the whole ensemble. It ends when it moves without transition to a new closing theme, mixing a melody and pizzicato [plucked strings as opposed to being bowed] writing. The third movement is in the form of a chaconne, a repeated harmony sequence. It begins with all three celli and four violas, and with each repetition new voices are added until, in the final variation, all the players have been woven into the music. The fourth movement, a short finale, returns to the closing theme of the second movement, which quickly re-integrates the compound meters from earlier in that movement. A new closing theme is introduced to bring the Symphony to its conclusion.”

DINNERSTEIN PREMIERES GLASS A FAR CRY SEASON 11 JOHANN SEBASTIAN BACH BRANDENBURG CONCERTO NO. 3, BWV 1048 Taylor House Bed and Breakfast

The six Concerts avec plusieurs instruments (Concertos with several Spacious Rooms/Private Baths instruments), or “Brandenburg Concertos,” derive their nickname Near Jamaica Pond from the Margrave Christian Ludwig of Brandenburg. Presumably,

Bach met the Margrave in Berlin while he was in town checking on a Music and Art Events new harpsichord for Prince Leopold of Anhalt-Cöthen, for whom he served as Capellmeister. It’s also assumed the Margrave commissioned Weddings/Showers some music from Bach. It would have been inappropriate for Bach to Business Meetings accept a commission for new music from the Margrave while serv- ing as an employee of Prince Leopold, which suggests the concertos might have originated in earlier compositions. Also, Bach sent them three years after the initial meeting, leading to the hypothesis that www.TaylorHouse.com the concertos were sent as a kind of résumé. During those three years 617-983-9334 devastating change swept through Bach’s household: out of town on [email protected] duty with musicians and the Prince, Bach returned in July of 1720 to 50 Burroughs St in JP find his wife had died several days before and was already buried. Not only was he heartbroken, he was left to care for their children alone. Mention this ad for 5% off your stay! Perhaps he remembered meeting the Margrave and saw him as a ticket out of town. Whatever his motivation, they were sent and met with silence. No reply. The Margrave never had them performed.

In the Brandenburg Concertos Bach riffed on a structure made popular by the Italians, the “concerto grosso,” where a smaller group (“concer- tino”) functions as soloist in conversation with the whole (“ripieno”). The astounding variation of form in Brandenburg Concerto No. 3 is that the concertino of nine instruments, with separate solo lines, combine in various unisons to form the typical ripieno parts through- out the piece, attesting to Bach’s endless innovations that brilliantly transcended the limits of traditional structure.

—Kathryn J Allwine Bacasmot

Kathryn J Allwine Bacasmot is a pianist/harpsichordist, musicolo- gist, music and cultural critic, and freelance writer. A graduate of New England Conservatory, she writes program annotations for ensembles nationwide.

DINNERSTEIN PREMIERES GLASS A FAR CRY SEASON 11 Conservatory’s Jordan Hall and the Phillips Collection in Washington, D.C. In recent seasons he has performed the Saint-Saëns Concerto in A minor, with the Boston Philharmonic; the Beethoven Triple Concerto, with Emmanuel Music; and the Dvorak Concerto, with the University of Santa Cruz Orchestra.

In April of 2009, Mr. Popper-Keizer was the subject of an in-depth profile in The Boston Globe in which he was recognized as one of the area’s busiest and most versatile musicians, his career routinely encompassing everything from continuo in 17th-century motets to solo recitals to avant-garde improvisation to indie rock. He has collaborated with members of the Borromeo and Muir String Quartets, the Museum of Fine Arts Trio, violinist Curtis Macomber, and flutist Eugenia Zukerman, and has toured extensively with the CORE Ensemble, a nationally acclaimed percussion trio with over twenty commissions to its name, through which he was invited to appear as both soloist and We’re overjoyed to introduce the newest member of A Far Cry, Rafael chamber musician in the contemporary music festival “Contrasts” in Popper-Keizer! Lviv, Ukraine. Mr. Popper-Keizer has made guest appearances with innumerable ensembles throughout New England, including the Rafi’s incredibly generous and thoughtful playing has been a source of Fromm Chamber Players, Boston Musica Viva, the Boston Trio, the inspiration for us during A Far Cry’s entire existence. Anyone who’s Rockport Festival, Walden Chamber Players, Firebird heard him - and if you live in Boston, you probably have - understands Ensemble, and John Harbison’s Token Creek Festival, among others. exactly why. Mr. Popper-Keizer has been featured on over a dozen recordings, with Every time we’ve gotten to make music together has been a joy, and five new releases in 2010 alone. They include the premiere of Robert now we get to do it a whole lot. Erickson’s Fantasy for Cello and Orchestra with the Boston Modern Orchestra Project on New World Records, Ralf Gawlick’s Piano Trio Welcome, Rafi, we’re so glad to have you on board for this adventure! and Piano Quartet, on Musica Omnia; Lisa Bielawa’s Why Did You Lie To Me? for unaccompanied cello, on BMOP/Sound; and, on three sep- arate Albany Records releases, Martin Boykan’s Song Lines and Motet, ABOUT RAFAEL POPPER-KEIZER Malcolm Peyton’s unaccompanied Cello Piece, and Gunther Schuller’s Piano Trio and Yehudi Wyner’s De Novo for cello and small ensemble Hailed by The New York Times as “imaginative and eloquent” and with Ibis Camerata. dubbed “a local hero” by The Boston Globe, cellist Rafael Popper- Keizer maintains a vibrant and diverse career as one of Boston’s most Rafael Popper-Keizer is an alumnus of the New England Conservatory, sought-after artists. He is principal cellist of the Boston Modern where he studied intensively with master pedagogue and Piatigorsky Orchestra Project and the Boston Philharmonic Orchestra, as well as a protégé Laurence Lesser, and of the Tanglewood Music Center, where member artist of Emmanuel Music, Chameleon Arts Ensemble, Winsor he served as Yo-Yo Ma’s understudy for Richard Strauss’ Don Quixote Music, and Monadnock Music. Praised by The Boston Globe for his under the direction of Seiji Ozawa. He also studied with Stephen “melodic phrasing of melting tenderness” and “dazzling dispatch of Harrison, at Stanford University, and Karen Andrie, at the University every bravura challenge,” Mr. Popper-Keizer has appeared as a soloist of California at Santa Cruz. throughout the United States, including recitals in New England

DINNERSTEIN PREMIERES GLASS A FAR CRY SEASON 11 Community Partnerships and Education with A Far Cry NEW ENGLAND CONSERVATORY ENTREPRENEURIAL MUSICIANSHIP FELLOWSHIP One of our goals at A Far Cry is to teach young musicians how to Open exclusively to NEC string students, this fellowship offers the imagine and develop different ways of performing and functioning as a opportunity to gain a 360 degree view of the A Far Cry chamber entrepreneurial ensemble. We intend to empower the next generation orchestra, including all aspects of administration, rehearsal and of musicians to think critically and listen to each other “in the performance. The AFC Fellows not only have the opportunity to music.” With these ends in mind, we foster many relationships with rehearse and perform one subscription concert with the ensemble, community partners and educational institutions across the United they also attend meetings, work directly with A Far Cry’s Executive States. We are pleased to highlight three of our ongoing educational Director, and participate in one or more of the organization’s musician- initiatives based in Boston. run committees. Through an intensive interaction with the group, the AFC Fellow will learn all aspects of managing and performing in a PROJECT STEP collaboratively-empowered ensemble, and contribute positively to the We are incredibly lucky to be participating in a second year of growth of A Far Cry. residency with Project STEP, a comprehensive string training program for children from underrepresented communities. This NEC PREP/A FAR CRY COLLABORATIVE COMPETITION residency includes weekly coachings and mentoring sessions from Our competition at NEC Prep offers registered students ages 13-20 Criers, plus concert previews and masterclasses for the entire Project the opportunity to collaborate with A Far Cry on one chosen piece per STEP community. season. The competition seeks to recognize talented young chamber musicians and inspire deeper communication through musicianship. Criers will be coaching the Project STEP Honors Quartet this season, The winner is invited to rehearse and perform with A Far Cry as a and this ensemble will present a pre-concert performance at Jordan member of the ensemble, experiencing first-hand the sensitivity and Hall before one of our concerts this spring. discipline necessary to work effectively as a self-conducted group.

DINNERSTEIN PREMIERES GLASS A FAR CRY SEASON 11 DONORS Mary and Walter Miller Susan and Robert Kalish Brenda Engel Bridget Mundy Christopher Kelly and Janet and Mark Fagan Thank you for your support of A Far Cry. We truly appreciate Michael and Judy Neiswander* Christina Foisie your gifts and your generous hearts! This list, compiled on Patricia Rosenblatt Nancy Klepper-Kilgore Geoffrey Foisie August 31, 2017, includes gifts made since July 2016. Helen and Guerrino Savio Cheryl Lloyd Cindy Fong Michael Scanlon Kristin Mortimer Connie and Buzz Gagnebin Howard and Leena and Sheldon Peck Louesa Gillespie INTERGALACTIC CRIER TOWN CRIER Harold I. and Jacqui Schwartz Trevor Pollack Julianne Glowacki ($100,000+) ($2,500 – $4,999) Frances G. Pratt Marilyn Ray Smith Kelly Reed and Nadja Gould The Andrew W. 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DINNERSTEIN PREMIERES GLASS A FAR CRY SEASON 11 James Smith and Chrix Finne Erik Nielsen SUPPORTERS Joan Miller Carol and Gary Friedman New Morse Code Our thanks to those who have supported us in extraordinary ways. Doug Spalding Ruben Garcia Sarah Paysnick George Stalker and Mr. and Mrs. Paul Geresy Nancy Peabody Kathryn Bacasmot A special thank you to our network of Crier Jean Keskulla Ed Ginsberg Plan A Cases, LLC Ken Brooks and Jim Ellis of JP Concerts volunteers, and to those generous hosts David and Sharon Janet Graham Galina Podgoretsky Tom Caulfield who house our guest musicians. Steadman Ruth Greenberg Katherine Raisz Dropbox Michael and Ami Stix~ Gardiner Hartmann Eric Reustle and Kristen Kate Fisher Farkhad Abdikadirov Alice and Lally Stowell Matthew Heck Watson Susan Garland Nicholas Hooks Ching-Mi Sun and Mr. Monroe Heyman David and Mary Roberts Eloise Hodges Nicole Kootz Fang Kuo Elizabeth Hill Jill Rubio Ann Humphrey and Aaron Glazer Hayley Murks-Abdikadirova Averil Svahn Kevin and Margaret Tom Schnauber NEC Entrepreneurial Musicianship Andrew Sanchez Jimmy Tirrell Hodges Richard and Linda Salvucci Department Sylvia Schwartz Anne Watson Born Derrik Hoitsma and Mark Seifried Scott Nickrenz Joy Wang Margaret Wiseman Marjorie Pivar Janet Selcer Pierce Atwood LLP Frank Warren Graham Holmes Fred Shusterich Kelly Reed CORNER CRIER Richard Johnson Thomas Stevens Ropes & Gray LLP If you would like to learn more about ($25 – $99) Yoni Kahn and Alison John Stoeckle Dr. Michael Sporn housing a musician – or other volunteer Anonymous (2) Rosenblum Sheryl and Luther Stohs Peter Sykes opportunities – speak to any Crier or con- Farrokh Abadi Ann Marie Kennedy Caitlin Sullivan Max Treitler tact us at: [email protected]. Janet Adachi and James Todd Kirk Kevin Sullivan Graham Wright Gado Christina Knapp Martin and Nancy Sullivan Burt Adelman Pam Kristan Katja von Tiesenhausen Catherine S. Amory Andy and Margo Lane Leandros Vrionedes Patricia Au Penelope Lane Kate Bennett Wadsworth John Bacon-Shone Rena Leib and Yi-Heng Yang Charles A Boy, Jr. Jesse Limbacher David Waldman and Sandra Buck Shaw Pong Liu Carolyn Schwartz Daniel and Marta Cambra Paul Lynn Susan Warne Annie Cardinaux Heath Marlow Richard Watson Phoebe Carrai David and Nancy May Judith Wechsler Timothy Carter Allison Matthew Henry Weinberger Daniel Coleman Fernando Mederos and Jan Paul Wianco Anna Lee Court Roll-Mederos Amy Wong Rebecca Cypess David Miller Michael Zeiss Nancy Dimock Sarah Carr and Robert Michael Doyle Moravec Barbara Dunker Susan Mosher Paul Dwyer Nancy Mueller

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DINNERSTEIN PREMIERES GLASS A FAR CRY SEASON 11 ORGANIZATION Steve Saudek and Janice Durham David and Felice Silverman BOARD OF DIRECTORS Dr. Michael Sporn Dr. Lisa Teot Thomas Novak, Chair Dan Thorn Robyn Bollinger Max Treitler Edmund Cibas Ivy Turner Lisa Hicks Chris Walter Jesse Irons Kristen Watson Jae Cosmos Lee Mary S. Jaffee ADMINISTRATION Liisa Kissel Bridget Mundy, Executive Director Daniel Lev Jesse Irons, President Christopher Reuning Edmund Cibas, Treasurer Allan Rodgers Robyn Bollinger, Clerk Lisa Wong

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