Anthony Marwood James Crabb Credit: Harald Hoffmann Opening Night: AnthonyNew Horizons Marwood Leads NovemberSeptember 1-4, 21-24, 2018 2017 Message from the Board President | 1 Message from the Executive Director | 1 Opening Night: Anthony Marwood Leads | 2 The Orchestra | 3 Did You Know? Program Notes | 4 Young people who participate in the arts Music Director | 7 History | 8 for at least three hours on three days each Guest Concertmaster | 9 week through at least one full year are: Guest Artist | 10 Program Announcement | 11 • 4 times more likely to be Members of recognized for academic achievement New Century | 13 Recordings | 15 • 3 times more likely to be elected Notes of Gratitude | 17 to class office within their schools Stradivarius Circle | 19 Stuart Canin Fund | 19 • 4 times more likely to participate New Century Club | 20 in a math and science fair Tributes | 20 • 3 times more likely to win an award Special Events | 21 New Century Board of Directors for school attendance and Staff | 22 Ticket Information | 23 • 4 times more likely to win an award 2018-2019 Venues | 24 for writing an essay or poem Upcoming Concerts | 25 ADVERTISING OnStage Publications 937-424-0529 | 866-503-1966 e-mail: korlowski@onstagepublications.com www.onstagepublications.com This program is published in association with OnStage Publications, 1612 Prosser Avenue, Kettering, OH 45409. This program may not be reproduced in whole or in part without written permission from the publisher. JBI Publishing is a division of OnStage Publications, Inc. Contents © 2018. All rights reserved. Printed in the U.S.A. MESSAGE FROM THE BOARD PRESIDENT & EXECUTIVE DIRECTOR elcome to the e are thrilled to opening of New welcome the WCentury Chamber Wbrilliant violinist Orchestra’s 2018-2019 Anthony Marwood as our guest Season! This season marks the concertmaster for the opening beginning of a new era for our concerts of the 2018-19 Season! orchestra as the internationally A solo violinist of international renowned violinist Daniel acclaim, Anthony has also Hope begins his tenure as New made his mark leading some Century’s Music Director. Daniel has planned an of the world’s most venerable orchestras from the incredible season that culminates in New Century’s concertmaster’s seat. He serves as Principal Artistic European debut in June. Partner of Canada’s celebrated Les Violons du Roy, and is Artist-in-Residence with the Norwegian Our season began last week with the Stuart Canin Chamber Orchestra. He has frequently led the Award Luncheon, at which the legendary mezzo- Australian Chamber Orchestra, and regularly appears soprano Frederica von Stade and composer Jake as leader and soloist with the St. Louis Symphony. Heggie were honored. Named for New Century’s founding Music Director Stuart Canin, this award Anthony has created a stunning program featuring recognizes individuals who have made an extraordinary the U.S. premiere of Seavaigers for Violin, Accordion contribution to classical music in the Bay Area. This and String Orchestra by the London-born composer year’s award ceremony featured a performance by the Sally Beamish. We are particularly excited to have Metropolitan Opera National Council Grand Finalist, the Scottish accordionist James Crabb with us for soprano Natalie Image. Past winners of the award this brilliant work. James has created a new class of include arts leaders and philanthropists John and Paula virtuosity for the accordion, both securing his place Gambs, and composer and philanthropist Gordon Getty. as a major interpreter of the works of Astor Piazzolla while acting as a muse for many living classical This evening, we welcome the British violinist composers. I’m sure that this evening’s program will Anthony Marwood as our guest concertmaster, leading be an unforgettable experience for all of us. a program that combines one of the masterworks for string orchestra with two contemporary works. We look forward to seeing you again in February as Alongside Antonín Dvorˇák’s beloved Serenade for we welcome Daniel Hope for his first concerts with Strings in E major, Op. 22, Marwood will play us as our new Music Director. Daniel has planned Pe¯teris Vasks’ haunting Concerto for Violin and an unforgettable season of musical journeys and String Orchestra, Distant Light. The virtuoso Scottish experiences that I know you won’t want to miss. accordionist, James Crabb, joins the orchestra for the U.S. premiere of Sally Beamish’s Seavaigers for violin, Thank you for continuing to be a member of the accordion and strings. New Century family! We look forward to seeing you as our season All my best, continues when Music Director Daniel Hope returns in February. Thank you for your loyalty and support of the New Century Chamber Orchestra. Most sincerely, Philip Wilder Executive Director Mark Salkind President, Board of Directors NEW CENTURY CHAMBER ORCHESTRA 1 THURSDAY, NOV. 1, 7:30 PM FIRST CONGREGATIONAL CHURCH, BERKELEY FRIDAY, NOV. 2, 7:30 PM FIRST UNITED METHODIST CHURCH, PALO ALTO SATURDAY, NOV. 3, 7:30 PM OPENING NIGHT: CAROLINE H. HUME HALL, SAN FRANCISCO ANTHONY CONSERVATORY OF MUSIC, SAN FRANCISCO SUNDAY, NOV. 4, 3 PM MARWOOD LEADS OSHER MARIN JCC, SAN RAFAEL SALLY BEAMISH: Seavaigers, for violin, accordion and strings (B. 1956) James Crabb, Accordion Anthony Marwood, Violin ANTONÍN DVORÁKˇ Serenade for Strings in E major, Op. 22 (1841-1904) INTERMISSION – PETERIS VASKS Distant Light, Concerto for violin and string orchestra (B. 1946) Anthony Marwood, Violin New Century’s 2018-2019 Season is made possible by the generous ongoing support of Gordon P. and Ann G. Getty. NEW CENTURY CHAMBER ORCHESTRA 2 THE ORCHESTRA VIOLIN I VIOLIN II CELLO Anthony Marwood, Candace Guirao, Robin Bonnell, Guest Concertmaster Principal Acting Principal Dawn Harms, Deborah Tien Price Michelle Djokic Associate Concertmaster Michael Yokas Eric Gaenslen Robin Mayforth Evan Price Mike Graham Iris Stone Jory Fankuchen Hrabba Atladottir DOUBLE BASS VIOLA Anthony Manzo, Anna Kruger, Principal Principal Cassandra Lynne Richburg Jenny Douglass Emily Onderdonk NEW CENTURY CHAMBER ORCHESTRA 3 PROGRAM NOTES SEAVAIGERS early reviewer, the piece sounded so much like SALLY BEAMISH Scottish folk music that she was wondering about the extent of Beamish’s own contribution. (b. London, 1956) ARRANGED FOR VIOLIN AND Nevertheless, Stout and McKay stressed that Seavaigers is “very much Beamish’s music.” Said ACCORDION BY JAMES CRABB Stout, “It’s a good place that we’ve got to now (b. Dundee, Scotland, 1967) with composers as sensitive as Sally, where both forms of music [traditional folk and composed The compositional career of London-born classical] can sit respectfully side by side.” Sally Beamish blossomed after her move to Scotland in 1990. She had previously enjoyed Catriona McKay’s website offers the following an active career as a violist, since relocating information about the origins of the work: north, she has created a large catalog of works and received numerous commissions and Seavaigers was commissioned by Celtic awards for her music. Scotland—and Scottish Connections and the Edinburgh International folk music—has proven a constant inspiration, Harp Festival, with funding from Creative as has the image of the sea, which figures Scotland. It was first performed by Chris prominently in many of her compositions. (She Stout and Catriona McKay with the Scottish has also published a transcription of Debussy’s Ensemble, directed by Jonathan Morton, La mer for piano trio.) at Celtic Connections in the Fruitmarket, Glasgow, January 2012, and at the Edinburgh th Beamish has written three pieces after the 10 - International Harp Festival, April 2012. century English poem The Seafarer, a long lament about the vicissitudes of a sailor’s life, ending with a religious-philosophical meditation about life and death. The poem has been SERENADE FOR STRINGS translated into modern English numerous times IN E MAJOR, OP. 22 (there is also a version, in not-quite-modern ANTONÍN DVORˇ ÁK English, by Ezra Pound.) The translation into (Nelahozeves, Bohemia, 1841-Prague, 1904) Scots, by Tom Scott, bears the title Seavaiger, and this is the name Beamish adopted for what Like most composers in the early stages of was originally a concerto for Scottish fiddle their careers, the young Antonín Dvoˇrák was and harp, written for folk musicians Chris Stout struggling to make ends meet. From 1862 and Catriona McKay. The work completed a to 1871, he was principal violist at the new cycle that already included a setting of the poem Provisional Theatre in Prague; he also taught for reciter and piano trio, as well as a viola music privately. In 1874, when he applied for concerto (No. 2, The Seafarer). Subsequently the newly instituted Austrian State Stipendium arranged for violin and accordion, the three- for young artists, his file read: “Anton DWORAK movement Seavaigers casts the soloists, in the of Prague, 33 years old, music teacher, completely words of critic Tim Woodall, as “seafarers without means.” crossing the North Sea.” In the first movement, entitled “Storm,” a “free-form opening duet Dvoˇrák, married and the father of an infant develops into a knotty storm scene.” In the boy, had much at stake in this competition. second-movement “Lament,” “inversions of Fortunately for him, the selection committee, the same melody…convey a sense of anguish.” whose members were conductor Johann Finally, the last movement, “Haven,” was Herbeck, music critic Eduard Hanslick, and described by harpist McKay as “a final exhilarated Brahms, decided in his favor. As the report stated: course towards home.” He has submitted 15 compositions, among Seavaigers was a true collaboration between the them symphonies and overtures for full composer and the original soloists, whose parts orchestra which display an undoubted talent, called for a great deal of improvisation. To an but in a way which as yet remains formless NEW CENTURY CHAMBER ORCHESTRA 4 PROGRAM NOTES and unbridled….The fact that Dvoˇrák’s themes are recalled as if in a dream, cut short choral and orchestral compositions have been by a sudden return to the more agitated tone performed frequently at big public concerts of the beginning.