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Th e Adelphi Chamber Orchestra is a not-for-profi t Corporation in the State of New Jersey, and is tax-exempt under Section 501@(3) or the International Revenue Code. All gift s are October 21, 2012 at 4:00 pm tax-deductible to the fulest extent of the IRS Code. River Dell Regional High School, Oradell, NJ Join our Email List! www.ACONJ.org PO Box 262 · River Edge, NJ 07661 We will send you a concert reminder Th e Romantics
October 21, 2012 at 4:00 pm River Dell Regional High School, Oradell, NJ
David Feltner Conductor Sunday Aft ernoon Concerts 2012–13 Th e Fair Melusine, Op. 32 F. Mendelssohn 1809–1847 Jan 20 2013 — 4:00 pm Riverdell Regional School District Auditorium Sonata for Viola and Orchestra Rebecca Clarke Eric Dudley, Conductor • Robert Deutsch, Cello 1886–1979 Mar 24 2013 — 3:00 pm Orchestrated by Ruth Lomon Pascack Valley Regional High School Partial Funding by the Rebecca Clarke Society Diane Wittry, Conductor • Alice Burla, Piano
I. Impetuoso May 5 2013 — 4:00 pm II. Vivace Riverdell Regional School District Auditorium III. Adagio — Allegro Celebration of Opera and Anniversaries: Richard Owen Jr., Conductor Works of Verdi • Mascagni • Wagner • Poulenc Sarah Adams Viola Karen Foster, Soprano Community Outreach Concerts: Adelphi Chamber Ensemble • Intermission • Nov 4 2012 — 5:00 pm Nicholas Roerich Museum NYC Feb 24 2013 — 2:00 pm Mahwah Public Library Serenade No. 1 in D Major, Op. 11 J. Brahms Apr 21 2013 — 3:00 pm Teaneck Public Library 1833–1897 I. Allegro molto II. Scherzo. Allegro non troppo — Trio. Poco più moto III. Adagio non tropo IV. Menuetto I — Menuetto II V. Scherzo. Allegro VI. Rondo. Allegro
Th is Concert is Dedicated to the memory of Frank Lee
Please turn off all cell telephones, pagers, or other audible electronic devices before the concert begins. Audio or video recording of any kind, or photograpy are not allowed dur- ing the performance without express permission from the Adelphi Chamber Orchestra. Orchestra Members
Violin 1 Cello French Horn Alexandra Wilson* Robert Deutsch* Carolyn Kirby* Amelia DeSalvio- Erika Boras Tesi Deloss Schertz Muccia Florin Sutton Bryan Meyers Claire Kapilow Andrew Knowlton Rachel Mathews Bass David Miller Sylvia Rubin Alice Yoo Jay VandeKopple* David Muleski Trumpet George Sabel* Violin 2 Flute Anthony Fenicchia Michael Peng* Carron Moroney* Arlene Locola Timpani/Percussion Chelsea Merriman Natasha Loomis Dana Reedy-Gagler John Wagner Oboe Marilyn Wagner Viola Linda Kaplan* Harp Ruth Demarco-Conti* Alyssa Ahearn Roland Hutchinson Irene Bressler Mary Kay Binder Clarinet Gigi Jones Monte Morgenstern* Celesta Caren Davis Noriko Kubo Audio Engineer Vincent Troyani Bassoon Robert Quinn* Jessica Frane
*Principals Rotating Seating Among Sections David Feltner, Conductor Hailed as “an intelligent and insightful musician” by Th e Bos- ton Globe, David Feltner is entering his ninth season as Mu- sic Director of the Chamber Orchestra of Boston. Following the inaugural concert of the COB in January 2001, he was invited to serve as Associate Conductor and Chorus Master for Boston Lyric Opera’s 2001–02 season, for which he re- ceived critical acclaim. Of Verdi’s Don Carlos, Opera News wrote, “Th e Lyric Opera Chorus under David Feltner sang splendidly.” Th e same publication commented on the pro- duction of Tod Machover’s Resurrection: “…the chorus, under David Feltner, proved fully up to the challenge of the complex meters and rich, kaleidoscopic colors of Machover’s score.” Following his Jordan Hall debut, he was invited to serve as Cover Conduc- tor for Keith Lockhart and the Boston Pops. He has also served as Cover Con- ductor for Larry Rachleff and the Rhode Island Philharmonic and has been Guest Conductor for Intermezzo: Th e New England Chamber Opera Series, conducting Lee Hoiby’s opera, Th e Scarf. Mr. Feltner is also Music Director of the Nashua Chamber Orchestra. His performance of Robert Edward Smith’s Concerto for English Horn with the NCO was selected as one of the top ten best local performances in New Hamp- shire for 2007. In the Classical Countdown: Best of 2007, music critic Jeff Rapsis wrote: “Conductor David Feltner brought the Nashua Chamber Orchestra to new places.” He has participated in many workshops with master teacher Joseph Gif- ford, in Vermont and in Elba, Italy and has performed in festivals in Spoleto, Italy, Flagstaff , Arizona (performing Wagner’s complete Ring Cycle) and the Festival Musical de Santo Domingo in the Dominican Republic. Prior to becoming Music Director of Th e Chamber Orchestra of Boston, Mr. Feltner served for six seasons as Principal Violist of New York City Opera National Company. He also performs as violist for BLO, Boston Pops Espla- nade Orchestra, Emmanuel Music and Boston Modern Orchestra Project.
Sarah Adams Sarah Adams began her musical training in Cleveland, Ohio, where her fi rst teachers were Kurt Loebel and Ed- ward Ormond, both members of the Cleveland Orches- tra, and where she won the inaugural Cleveland Orchestra String Competition and the Louis Lane Scholarship. She studied at the Eastman School of Music with Martha Katz, and members of the Cleveland Quartet, then received her BA and MM from Kent State University, studying with Kay Slocum, Tung Kwong-Kwong and Ma Si-Hon. Summer studies were with Heidi Castleman, Jeff rey Irvine and Lynne Ramsey. Sarah attended Th e Juilliard School, where she received the Professional Studies Cer- tifi cate, studying with Karen Tuttle, and Felix Galimir. During her tenure as violist of the Cassatt Quartet, the quartet studied with Eugene Lehner, Louis Krasner and members of the Juilliard, Tokyo, American, Vermeer, Orion and Emerson Quartets, going on to become top prize winners at the Banff String Quartet Competition and concertizing throughout the United States, Canada, France and Japan. Ms. Adams is a frequent performer of chamber music in the New York area. She is a member of the New York Chamber Ensemble, and the Sherman Chamber Ensemble. As violist with the Roerich Quartet, she performed con- certs in NYC, upstate New York and Vermont, at the Riverrun Chamber Music Festival, and at Sarah Lawrence College. A frequent performer with Orpheus Chamber Orchestra, she has also performed and recorded with Parnassus and the Smithsonian Chamber Players. Other chamber music appearances include the Claring Chamber Players, Friends of Mozart Chamber Series, the Wind- ham Chamber Music Series, the Saratoga Chamber Players, the New Jersey Chamber Music Society, Speculum Musicae, the Amernet String Quartet, and the Metropolitan Museum Chamber Series with fl utist Paula Robison. Th is 2010–2011 season, Sarah joins the Cassatt Quartet for performances and re- cordings in NYC, Chappaqua, NY, Lincoln, Nebraska, Odessa, Texas, Sanibel Island, Florida, Th e Seal Bay Music Festival and Music Mountain Chamber Music Festival. Ms. Adams has been assistant principal violist of the Houston Symphony Orchestra, and is currently principal violist of the Riverside Symphony and the Brooklyn Philharmonic Orchestra. She is a member of the American Bal- let Th eatre, performs frequently with the New York City Opera Orchestra, the American Symphony Orchestra, and the Orchestra of St. Luke’s, and has ap- peared oft en with the New York Philharmonic, the Metropolitan Opera Or- chestra, and the New York Chamber Symphony. Sarah has been a member of the house orchestras for Jerome Robbin’s Broadway, Kiss of Spiderwoman, Candide, Swan Lake, Aida and La Boheme. Ms. Adams has served on the faculty of Long Island University and Queens College, and has taught viola and chamber music at Columbia University since 1993. She has performed as soloist in Alice Tully Hall with the Jupiter and Riverside Symphonies, at Caramoor with the Orchestra of St. Luke’s, at the Washington Square Music Festival, with Parnassus at the Ethical Culture Soci- ety, and in recital with the Hong Kong Chamber Series, the Houston Chamber Music Society, and the New York Viola Society. Her summer appearances include the Bard Music Festival, the Hartwick College Summer Music Festi- val, the Sherman Chamber Music Series, the Cape May Music Festival and the Windham Music Festival. Sarah resides in Westchester with her children- Quinn, Eugene, Hannah, Winona, and Jean-Luc, her husband, Fred Grevin, and their dog, Buddy. Program Notes
Th e Fair Melusina (Zum Märchen von der Schönen Melusine), opus 32: A medieval French romance, fi rst recorded in 1387 by Jean d'Arras, tells of a wa- ter sprite, or mermaid, named Melusine (in English, Melusina), who is able to render her fi shy bottom half human for several days at a time to go about on land. She marries Count Raymond of Poitiers, but only on the condition that he never see her on Saturdays, as that is when she must resume her mermaid form. Eventually, Raymond does spy on her one Saturday, with dire results. Mendelssohn was captivated by the tale and wrote a concert overture on the subject. Th e music does not narrate a specifi c sequence of events, but evokes certain characters and situations from the story. Th e fi rst section employs a gracefully burbling theme introduced by clarinets, suggesting Melusine and her natural environment. Th ere soon follows a long, turbulent passage relating to the storm and stress of life among humans, which subsides into a less strenu- ous melody under which the rhythm of the more violent section remains. Th at rhythm is derived from the fl uid, watery fi gure in the overture's opening bars. Mendelssohn subjects all this material to a substantial development. Th e fi nal Congratulates the section returns to the gentler music of the opening, which gradually slows, thins, and trickles away. Adelphi Chamber Orchestra From All Music Guide on its 59th season! Sonata for Viola and Orchestra: Rebecca Clarke’s Viola Sonata caused a sen- 70 Hatfield Lane, Suite G01 |Goshen, NY 10924 |T: (845) 615-3320 sation in a 1919 chamber music competition hosted by Elizabeth Sprague Coolidge, chamber music patron and founder of the Berkshire Music Festi- val. Submitted anonymously with 72 other works, Clarke’s piece tied for fi rst place with Ernest Bloch’s submission – an unheard of achievement in 1919 for a “woman composer.” Although an immediate success, the Sonata gradually disappeared from the repertoire, and Clarke was long forgotten. In later years Clarke referred to the piece as her “one little whiff of success” and it was her most performed composition during her lifetime. Since the rediscovery of the Sonata in 1976, it has become (according to some noted violists) the most frequently performed large work for viola and piano. Clarke wrote for her own instrument, the viola; her idiomatic under- standing adds to the work’s immediacy. In three movements, “Impetuoso,” “Vi- vace” and “Adagio — Allegro,” it is powerful and expansive in scale. Th e second movement, an exuberant scherzo, can be performed as a stand-alone piece for 845/368-5181 a pops orchestra or when a shorter work featuring viola is desired. Th e Rebecca Clarke Society commissioned Ruth Lomon, resident compos- er and scholar at the Women’s Studies Research Center at Brandeis University, to orchestrate the sonata. Lomon has received commissions from numerous organizations including the Massachusetts Council for the Arts, the National Endowment for the Arts, and New England Arts. Lomon’s newly orchestrated version of Clarke’s Sonata for Viola was premiered in Worcester, MA, with Pe- ter Sulski, viola soloist, and the Worcester Collegium, led by Ian Watson. Th is historic event took place in St. Paul’s Cathedral, as part of the St. Paul’s Music Festival. Th is aft ernoon’s perfomance is partially funded by the Rebecca Clarke Society. BravoBra Adelphi! From Th e Rebecca Clarke Society website: www.rebeccaclarke.org We are ProudProud to SuSupportp the Adelphi Chamber Orchestra as They CelebraCelebratet years of Free Concerts. Serenade No. 1 in D Major, Op. 11 59 Brahms composed this work in 1858, during his three-year tenure in the princi- For OverOver 80 Years BergenBergen County Residents Have Relied on Millers SkilledSkilled and AccessibleAccessible PharmacistsPharm and Their Many Specialized Services. pality of Detmold as choir conductor and court pianist. Serenade No. 1 evolved The nnewlyewly renrenovatedo Millers Pharmacy Offers: from a nonet for winds and strings, written at the Detmold in 1858, but recast for chamber orchestra during the next year (both versions have been lost, or t/VUSJUJPOBM1SPEVDUTBOE$PVOTFMJOHt/VUSJUJPO were destroyed by the composer). He gave this material its fi nal and surviving t$VTUPN$PNQPVOEJOH-BCPSBUPSZt$VTUPN form in 1859, adding two more movements to the original four before publish- t)PNF)FBMUI8FMMOFTT1SPEVDUT ing it in 1860 as his fi rst orchestral work. Odd as it may seem today, both this t'3&&-0$"-%&-*7&3: and a second Serenade in A, Op. 16, written in 1860 (without violins, only 201.891.3333 t 678 Wyckoff Avenue t Wyckoff, NJ 07481 lower strings, winds, and brass) were considered avant-garde. millerspharmacy.com Follow us on Facebook Monday – Friday 9AM – 8PM, Saturday 9AM – 4PM Although Brahms employed sonata-form in the opening Allegro molto and the Adagio third movements of the Serenade No. 1, it is basically a dance work. Th e jaunty, dotted main subject sets a mood that recurs several times be- fore its apotheosis in a rondo-fi nale. Both the second and the fi ft h movements are scherzos. Th e fi rst of them is marked Allegro non troppo (that modifying "not-too-much" remained a Brahmsian caution throughout his lifetime). Song sections are cast dramatically in D minor, witht the slightly-faster trio in B fl at major. Th e third movement, Adagio non troppo, is the work's emotional fulcrum; this too is in B fl at major. A minuet within a minuet follows—the fi rst one in G major, the second one in G minor with an espressivo, legato theme played the violins over plucked violas. Th e second scherzo comes next, an unqualifi ed Al- legro in D major, with a trio in C. Th e shortest movement in the piece, it pays overt homage to Beethoven. Th e concluding rondo in 2/4 time is another unmodifi ed Allegro in D ma- jor. Clarinets and bassoons an octave apart, playing in thirds, announce the principal subject. From All Music Guide Patrons of the Adelphi Chamber Orchestra Acknowledgments
Hagop and Sirapi Aram Martin Merzbach Th e River Dell Regional School District Chick Barnes Martin Perlman For the Use of the Beautiful High School Auditorium Cynthia Bernstein Perlman family Foundation Barbara Bettigole Perry & Gladys Rosenstein Th e River Dell Regional School District Jeaninne & Fred Feinstein Leanore & William Rosenzweig For the Use of Rehearsal Space for this concert Mrs. Jon Fellgraff Dr. David Roth David Feltner Constance R. Schnoll & Alfred Partial Funding by the Rebecca Clarke Society Katie & Ed Friedland Paranay Elizabeth Heald Sylvia & David Rubin Claire & Robert Kapilow Sam Ash Music Carolyn & Paul Kirby Sigrid & George Snell Peggy & Al Klase Manny & Janet Sosinsky TThehe AAdelphidelphi ChamberChamber OOrchestrarchestra Joan & Bill Kuhns Rev & Mrs. L.O. Springsteen Gerald & Lillian Levin Herb & Gaby Strauss wwishesishes toto expressexpress itsits gratitudegratitude Margaret Cook Levy Nancy Vanderslice Ruth R. Maier Robert E. Whitely ttoo allall ofof itsits volunteers,volunteers, friends,friends, individual,individual, corporate,corporate, andand Rachel Matthews ffoundationoundation donors,donors, advertisers,advertisers, Tributes RRiveriver DDellell BoardBoard ofof EducationEducation fforor helpinghelping toto makemake allall ofof ourour programsprograms possible.possible. WWee aarere llookingooking forwardforward In memory of Frank Lee In memory of Jules Braverman Barbara Bettigole Leni & Bill Rosenzweig ttoo sharingsharing moremore musicmusic withwith youyou thisthis concertconcert season.season. Peggy & Al Klase Joan & Bill Kuhns In memory of Fannie Hardwick Sylvia & David Rubin Feltner (Violin Chair) David Feltner Margaret Cook Levy (Viola Principal Chair) Sigrid & George Snell In memory of Edward A. Levy Rev. & Mrs. L.O. Springsteen Margaret Cook Levy (Violin Chair) Martin Perlman In memory of Morton Rubin Perlman Family Foundation David & Sylvia Rubin Elmer & Jean Omstead In honor of Rick Peckham In memory of Neal Bettigole Diane Wittry Barbara Bettigole (Bass Chair)