Friday Evening, January 29, 2016, at 7:30 Isaac Stern Auditorium/Ronald O. Perelman Stage

presents Beethoven’s “Likes” LEON BOTSTEIN , Conductor

Season 1, Concert 10

LUIGI CHERUBINI Overture from Les deux journées (Der (1760–1842) Wasserträger ) (1799–1800)

ANTON REICHA No. 3 in F major (1808) (1770–1836) U.S. Premiere Introduction: Allegro Adagio Menuetto: Allegro Finale: Allegro vivace

Intermission

FERDINAND RIES Piano Concerto No. 8, Op. 151 (1826) (1784–1838) NY Premiere Allegro con moto Larghetto con moto Rondo: Allegro molto PIERS LANE, Piano

LUDWIG VAN BEETHOVEN Symphony No. 5 in C minor, Op. 67 (1804–08) (1770–1827) Allegro con brio Andante con moto Allegro Allegro

This evening’s concert will run approximately two and a half hours including one 20-minute intermission.

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. THE Program by Stephen Rumph, associate professor of music at University of Washington School of Music

Luigi Cherubini Born September 14, 1760, in Florence Died March 15, 1842, in Paris

Overture from Les deux journées (Der Wasserträger ) Written in 1799–1800 Premiered on January 16, 1800, at the Théâtre Feydeau in Paris On stage: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 French horns, 1 trombone, timpani, 12 violins, 4 violas, 4 cellos, and 3 double basses Performance time: Approximately 9 minutes

Luigi Cherubini’s career epitomizes the slow introduction suggests the political fluidity of political allegiances during forces ranged against the protagonists. the French Revolution and its after - Cherubini has marshaled every possi - math. After making his mark at Ver - ble means to create a mood of sublime sailles amid Marie Antoinette’s coterie, horror— fortissimo blasts by the unison the adaptable Florentine composer winds, violin tremolos, diminished- would supply music for Revolutionary seventh chords, and descending scales fêtes , compose a ceremonial ode for in the low strings. These devices come ’s wedding, and direct Louis from the operatic ombra , a scene featur - XVIII’s chapel during the Restoration. ing supernatural or ghostly characters Throughout this turbulent era Cherubini (the entrance of the statue in Don Gio - thrived as Europe’s foremost operatic vanni is the most famous example). The composer whom even Beethoven named introduction gradually builds to an opti - as the greatest living composer (except - mistic allegro, a that begins ing himself). Cherubini wrote Les deux with a rocketing scale in the violins. The journées (1800), his most successful and heroic first subject evolves from a fragile durable opera, for the Théâtre Feydau, a wisp of a theme in the opening bars of theater whose Italianate repertory catered the overture, whose plaintive final ges - to a predominantly Royalist audience. ture gradually asserts itself across the The plot concerns a selfless Savoyard introduction. Blaring unisons in the water carrier who saves a noble couple horns and trombones persist in the alle - from persecution during the 17th-century gro, portraying the trials the protagonists Fronde—a thinly disguised allegory for must overcome. Interestingly, Cherubini’s the plight of Royalist sympathizers suave second subject first appears in the under the Reign of Terror. The librettist mediant before modulating to the Jacques Bouilly also wrote Léonore , on expected key of the dominant, thereby which Beethoven would base his own anticipating the three-key expositions of “rescue opera,” Fidelio . Beethoven and Schubert. Beethoven’s “heroic” style owes much to Cherubini’s Like Beethoven’s famous Leonore over - urgent rhetoric, with its jolting fortissimo tures, Cherubini’s overture enacts the offbeats, relentless tremolo strings, and coming drama in miniature. The grim thrilling stretto coda. Anton Reicha Born February 26, 1770, in Died May 28, 1836, in Paris

Symphony No. 3 in F major U.S. Premiere Written in 1808 On stage: 1 flute, 2 oboes, 2 clarinets, 2 bassoons, 2 French horns, timpani, 12 violins, 4 violas, 4 cellos, and 3 double basses Performance time: Approximately 36 minutes Like Bach, Mozart, and Beethoven, their music with character and affective Anton Reicha inherited music as a fam - expression. Consequently, they filled ily trade. Born to a Bohemian town their works with allusions to evocative musician, Anton learned violin and styles and genres from everyday music, piano from his uncle. During the 18th what scholars now call “topics.” Like century composers were viewed as Cherubini, Reicha mimicked the oper - skilled artisans, not exalted geniuses. In atic ombra in his slow introduction, 1785 the Reicha family relocated to with sinister diminished fourths, stark , where Anton played in the unison lines, and menacing . orchestra alongside Beethoven. Reicha’s The Allegro then begins with a learned status took a sharp upward turn after contrapuntal theme in the “church trio” he settled in Paris in 1808. He became texture (two violins and bass). The tran - a professor of composition at the Con - sition to the second key imitates the rag - servatoire that had been founded during ing tempesta scenes of Italian opera, the French Revolution, wrote several while the second theme adopts the important treatises, and became a cantabile manner of a love aria. The Chevalier of the Légion de l’honneur. No Adagio owes most to the pastoral tradi - longer a mere artisan, Reicha was now a tion. Like the finale of Beethoven’s learned professional who played a role Sixth, it begins with a ranz des vaches , in the cultural life of the modern nation. the Swiss Alpine for calling cows, from which rustic artifact Reicha Reicha completed his Third Symphony drew the most elegant consequences. in 1808, just months before the pre - After a spirited Menuetto , the sym - miere of Beethoven’s “Pastoral” Sym - phony ends with a tribute to Mozart’s phony, with which it shares the rustic last symphony. The alla breve Finale key of F major and some characteristic begins like the “Jupiter” finale with a elements, including folksy dances and chant-like motive in whole notes, which faux peasant music. Both undergoes rigorous contrapuntal devel - show the heritage of the 18th century, opment across the movement, capping a in which composers sought to infuse remarkably allusive and erudite work. Ferdinand Ries Baptized November 28, 1784, in Bonn Died January 13, 1838, in Frankfurt

Piano Concerto No. 8, Op. 151 NY Premiere Written in 1826 On stage: 2 flutes, 2 clarinets, 2 bassoons, 2 French horns, 2 trumpets, timpani, 12 violins, 4 violas, 4 cellos, 3 double basses, and solo piano Performance time: Approximately 29 minutes

Ferdinand Ries has ridden to fame on The movement follows the schema Beethoven’s coat tails, but a hearing of established by Mozart and Beethoven, his eighth piano concerto leaves no an alternation between orchestral and doubt that his music can stand on its solo passages governed by the tonal own. Ries was born into a musical fam - dialectic of sonata form. Unlike Mozart ily in Bonn, where his father taught and Beethoven, however, Ries down - Beethoven. Ries relocated to played the motivic development that where he studied piano with Beethoven lends an intellectual counterbalance to and played the premiere of his Third the Viennese solo concerto, highlighting Piano Concerto, improvising his own instead virtuosic display. The piano lux - cadenzas at Beethoven’s insistence. His uriates throughout the movement in the subsequent career as a piano virtuoso sort of bravura writing that Beethoven led him to London, where he sojourned and Mozart had reserved for select pas - in 1813–24 before returning to the sages leading to major . Ries Rhineland. The manuscript of the eighth also relaxed the tonal plan of the Vien - piano concerto, written two years after nese concerto, modulating to the third- his return, bears the inscription “Greet - related key of C major in the manner of ing to the Rhine.” Ries would collabo - Schubert. The Larghetto con moto reveals rate on a biography of Beethoven, one the same Romantic freedom, decorating of the most important primary sources the hymn-like theme with a rhapsodic for the composer. coloratura that anticipates Chopin. The final Allegro molto , a lively contredanse The opening Allegro con moto evokes rondo, provides further opportunities the Rhine with a broad rising theme in for pianistic bravado. Ironically, Ries pastoral triple meter that outlines the has carefully notated all of these impro - tonic triad—precisely the same means visatory passages, instead of allowing would use to portray the performer a truly improvised cadenza the mythical river in Das Rheingold . as Beethoven had done for him. Baptized December 17, 1770, in Bonn Died March 26, 1827, in Vienna

Symphony No. 5 in C minor, Op. 67 Written in 1804–08 Premiered on December 22, 1808, at Theater an der Wien in Vienna conducted by Beethoven On stage: 2 flutes, 1 piccolo, 2 oboes, 2 clarinets, 2 bassoons, 1 contrabassoon, 2 French horns, 2 trumpets, 3 trombones, timpani, 12 violins, 4 violas, 4 cellos, and 3 double basses Performance time: Approximately 33 minutes

The Fifth Symphony debuted on a mon - strings and winds, before hammering it umental concert of December 22, 1808, together in a harrowing recapitulation. with the Sixth Symphony, Fourth Piano The Andante con moto unfolds varia - Concerto, and sundry vocal works. The tions on a beautiful A-flat major theme concert marked the highpoint of introduced by the violas and cellos, but Beethoven’s “heroic” period, in which a triumphant martial theme in C major he had perfected a musical style whose repeatedly interrupts the lyrical flow, as ethical gravitas and monumentality drew if pointing ahead to a radiant goal. In inspiration from Cherubini, Méhul , and the scherzo, Beethoven abandoned the other composers of Revolutionary usual binary dance form and alternated France. In 1809, as the havoc wrought by instead between two ideas, an eerie Napoleon’s campaigns touched Beethoven melody in the low strings and an inex - more intimately, he gradually lost his orable call derived from the four- taste for militant public rhetoric. The note rhythmic motive. The fugal trio Fifth Symphony captures the optimism provides another hopeful glimpse of C of a moment in which the energies major, and when the scherzo resumes unleashed by the French Revolution only a ghostly shadow of the horn call still promised a utopian outcome. returns. Eventually, only a single note remains in the timpani, which beats out The utopian element is felt, above all, in the four-note motive. This uncanny the Fifth Symphony’s single-minded passage gathers steam and builds to the struggle from C-minor pathos to C- electrifying arrival of the C-major Alle - major victory. The famous four-note gro , a joyous martial celebration. For motive, stated in the first bars, propels the writer E. T. A. Hoffmann, the Fifth the opening Allegro con brio relent - Symphony awakened “that infinite lessly with its “short-short-short-long” yearning which is the essence of roman - upbeat rhythm. The lyrical second ticism,” but it also awakens more theme offers a momentary respite, but worldly echoes of Revolutionary vic - the motive persists in the lower strings, tory marches. The symphony ends in a driving onward to the . The blaze of C major, assuring the listener development will grind down the that, in 1808 at least, the arc of human motive to a single note tossed between history seemed to bend toward victory. THE Artists LEON BOTSTEIN, Conductor E

N Orchestra since 1992, artistic co- I D director of Bard SummerScape and the T T

A Bard Music Festival since their cre - M ation, and president of Bard College since 1975. He was the music director of the Jerusalem Symphony Orchestra from 2003 to 2011, and is now con - ductor laureate. Mr. Botstein is also a frequent guest conductor with orches - tras around the globe, has made numerous recordings, and is a prolific author and music historian. He has received many honors for his contri - butions to music. More info online at leonbotsteinmusicroom.com. Leon Botstein brings a renowned career as both a conductor and educa - Mr. Botstein is represented worldwide tor to his role as music director of The by Susanna Stefani Caetani and in the Orchestra Now. He has been music United States by Columbia Artists director of the American Symphony Management Inc.

PIERS LANE, Piano S

R of ; performances in E D

N Australia, the United Kingdom, France, U

A and Belgium S

H T I E

K Performances: Busoni’s Piano Concerto at Carnegie Hall; premieres of Carl Vine’s second Piano Concerto written for him, with the Sydney Symphony and London Philharmonic

Upcoming: Wimbledon Festival; Ams - terdam Concertgebouw; recital tour of Australia

Discography: Chandos release of Schu - Appearances: Wigmore Hall; five-time bert chamber music with Tasmin Little; soloist at the Proms; London Philhar - Hyperion release of solo recording monic Orchestra; Seoul Spring Festival Piers Lane Goes to Town , and six works for piano and orchestra by and the 2016 Sydney International Malcolm Williamson; ABC Classics Piano Competition of Australia release of two Mozart concertos Honors: Queen’s Diamond Jubilee Leadership: Artistic director of both the Honors: Officer in the Order of Aus - Australian Festival of Chamber Music tralia for services to music

THE ORCHESTRA NOW J I T O

L E E

Founded in 2015, The Orchestra Now a concert series at their home base—the is an innovative training orchestra and stunning Frank Gehry-designed Richard master’s degree program at Bard Col - B. Fisher Center for the Performing lege that is preparing a new generation Arts at Bard College—they perform of musicians to break down barriers multiple concerts each season at Carnegie between modern audiences and great Hall and offer free concerts at venues orchestral music of the past and pre - across the boroughs of New York City sent. Under the leadership of conduc - in the Around Town series. At the Met - tor, educator, and music historian Leon ropolitan Museum of Art they join Botstein, TON mines the wealth of Leon Botstein in the series Sight & underperformed repertoire, reimagines Sound as he explores the places where traditional concert formats, and strives musical and visual expression meet, to make the experience of the perform - pairing orchestral works with master - ers a part of the listeners’ experience. pieces from the museum’s collection. At a TON concert, musicians and audi - ence inspire one another, each follow - In addition to Mr. Botstein and TON’s ing their curiosity with a shared sense Associate Conductor and Academic of adventure. Director James Bagwell, guest conduc - tors in the inaugural season include The musicians of TON hail from across JoAnn Falletta, Marcelo Lehninger, and the United States and six other coun - Gerard Schwarz. tries: Hungary, Korea, China, Japan, Canada, and Venezuela. In addition to More info online at theorchestranow.org. MEET THE Musicians PHILIP BRINDISE, Horn E

E Most fun pieces to play: Mahler sym - L

O phonies T I J Favorite movie: Boogie Nights

Musical origins: I began playing horn at the age of ten because it was the only instrument I could get a sound out of.

If you could have a guest appearance on any television show, which one: The Eric Andre Show

Dreamiest conductor: Valery Gergiev

Best song to play on repeat: Anything Hometown: Chicago, Illinois by Radiohead

Alma mater: The Juilliard School iPhone or Android: Banana phone

Favorite non-classical musician or band: Favorite cartoon: Spongebob Squarepants Radiohead Advice for a group of people: Love Favorite composer fact: Mozart wrote dirty love letters to his cousin. Musical guilty pleasure: Trashy hip-hop

MICHAEL FRANZ, Bass E

E Hometown: Burlington, Vermont L

O T I J Alma mater: Eastman School of Music

Awards/Competitions: Winner, Dou - blestop Foundation Competition, 2015

Appearances: Opera Company of Mid - dlebury, Binghamton Philharmonic, New York String Orchestra, Moritz - burg Festival

Musical origins: I began playing double bass in public school at the age of 14 after having played trumpet, eupho - nium, and electric bass. ELEANOR LEE, Cello J I T

Hometown: Washington, Pennsylvania O

L E Alma mater: Eastman School of Music; E studied with Alan Harris, Anne Mar - tindale Williams, and Laura Evans

Awards/Competitions: Howard Han - son and Edna McLaughlin Merit Schol - arships, Eastman School of Music; master class performances for distin - guished artists, including the Dover and Pacifica Quartets, Joseph Silverstein, and Amir Eldan

Appearances: Meadowmount School of Music; National Orchestral Institute; Musical origins: I began playing cello Credo Chamber Music Program; Castle - at the age of seven because my mom man Quartet Program; Brevard Summer didn’t want to buy a harp and tricked Music Festival; solo appearances with me into playing a different string the Pittsburgh Youth Symphony, Pitts - instrument. Thank goodness! Cello is burgh Civic, and Washington Sym - difficult enough to tote around! I now phony orchestras play both baroque cello and viola da gamba, have studied jazz cello, and Favorite non-classical musician or band: was at one point in a cello pop band Ella Fitzgerald, my muse called Cello Show.

Favorite composer fact: In addition to Time-travel destination: Easy. I’d want being a composer (and a self-taught cel - to see some dinosaurs! list), Alexander Borodin was also a chemist and is credited for being a sig - Favorite soundtrack: I like the sound - nificant source of encouragement to his track for Out of Africa. friend, Dmitri Mendeleyev, in his efforts to create the Periodic Table of Elements. Instagram: @cellonor THE ORCHESTRA NOW Leon Botstein, Conductor, Music Director

Flute Bassoon Violin I Cello Thomas J. Wible, Wade Coufal, Andrés Rivas, Eleanor Lee, Principal Principal (first half) Principal (first half) Concertmaster Taylor Skiff Victor Wang, Principal Cathryn Gaylord, Brenna Hardy- Andrew Borkowski (second half) Principal (Ries) Kavanagh Hui Zhang Dávid A. Nagy, Michael Rau Oboe Principal Mia Laity Bass Zachary Boeding, (Beethoven) Shushi Hori Michael Franz, Principal (first half) Lili Sarayrah Principal Aleh Remezau, Horn Julian Lampert Principal (second Philip Brindise, Violin II Milad Daniari half) Principal (first half) Adina Mu-Ying Tsai, Shannon Hagan, Principal Guest musicians for Clarinet Principal (second Holly Jenkins this concert Elias Rodriguez, half) Grace Choi Principal (first half) Jordan Miller Youyang Qu Piccolo Sangwon Lee, Haemi Lee Kelly Herrmann Principal (second Trumpet Dawon Eileen Suh half) Szabolcs Koczur, (on leave ) Trombone Principal (Ries) Daniel Linden Zachary Silberschlag, Viola Hitomi Garcia Principal Omar Shelly, Principal Benjamin Oatmen (Beethoven) David Mason Bonnie Heung Violin II Timpani Scot Moore Sarah Zun Jonathan Wisner

BARD COLLEGE BOARD OF TRUSTEES

David E. Schwab II ’52, Chair Emeritus Andrew S. Gundlach Charles P. Stevenson Jr., Chair Sally Hambrecht Emily H. Fisher, Vice Chair Marieluise Hessel George F. Hamel Jr., Vice Chair Maja Hoffmann Elizabeth Ely ’65, Secretary; Life Trustee Matina S. Horner+ Stanley A. Reichel ’65, Treasurer, Life Trustee Charles S. Johnson III ’70 Fiona Angelini Mark N. Kaplan, Life Trustee Roland J. Augustine George A. Kellner Leon Botstein+, President of the College Paul S. Levy Stuart Breslow+ Fredric S. Maxik ’86 Mark E. Brossman James H. Ottaway Jr., Life Trustee Thomas M. Burger+ Martin Peretz, Life Trustee James C. Chambers ’81 Stewart Resnick, Life Trustee Marcelle Clements ’69, Life Trustee Roger N. Scotland ’93, Alumni/ae Trustee Craig Cogut Jonathan Slone ’84 The Rt. Rev. Andrew M. L. Dietsche, James A. von Klemperer Honorary Trustee Brandon Weber ’97, Alumni/ae Trustee Asher B. Edelman ’61, Life Trustee Susan Weber Paul S. Efron Patricia Ross Weis ’52 Robert S. Epstein ’63 Barbara S. Grossman ’73, Alumni/ae Trustee + ex officio THE ORCHESTRA NOW ADMINISTRATION

Artistic Staff Administrative Staff Leon Botstein, Music Director Lynne Meloccaro, Executive Director James Bagwell, Associate Conductor and Oliver Inteeworn, Managing Director Academic Director Brian J. Heck, Director of Marketing Zachary Schwartzman, Resident Conductor Sebastian Danila, Librarian and Researcher Erica Kiesewetter, Director of Chamber and Nicole M. de Jesús, Development Manager Audition Preparation Marielle Metivier, Orchestra Manager Carley Gooley, Marketing Assistant Benjamin Oatmen, Librarian Kristin Roca, Administrative Assistant

THE TON FUND J I T O

L E E

Make an important investment in a new generation of musicians who are redefining what it means to be an orchestra.

Through a gift to The TON Fund, you will help to inspire and support TON graduate stu - dents and their education.

TON students are select musicians who hail from the finest conservatories across the United States and abroad. They are completing a rigorous, three-year academic program leading to a master’s of curatorial, critical and performance studies. In addition to tackling interdisci - plinary coursework, they prepare and perform in professional concerts, and create music education programs.

Your tax-deductible contributions to The TON Fund will support student living stipends, fellowships, and health benefits; concerts at Bard College, Carnegie Hall, the Metropolitan Museum of Art, and other venues around New York City; TON’s teaching artist program, which provides opportunities for TON musicians to design and implement community out - reach projects with mid-Hudson schools, regional concert series, and community music edu - cation programs; purchase and care for instruments such as timpani and pianos, scores, and library acquisitions; and more.

To donate online, or for more information, visit THEORCHESTRANOW.ORG/SUPPORT.

To explore how your gift can support TON or to become more involved, please contact Nicole M. de Jesús, Development Manager, at (845) 758-7624 or [email protected]. THE ORCHESTRA NOW WINTER 2016 SCHEDULE

STRAUSS, WATTEAU & NOSTALGIA Music by & Artwork by Antoine Watteau Part of the Sight & Sound series Sunday, February 7, at 2 p.m.

MAHLER & BRUCH at the Fisher Center for the Performing Arts at Bard College Saturday, February 13, at 8 p.m. and Sunday, February 14, at 3 p.m.

FREE CONCERT IN MIDTOWN Haydn, Stravinsky, & David Diamond conducted by Gerard Schwarz Sunday, February 28, at 3 p.m.

FREE CONCERT IN BROOKLYN Beethoven, Copland, & Ives conducted by James Bagwell Friday, March 18, at 8 p.m.

More information available at theorchestranow.org.