Past Seasons — Naumburg Orchestral Concerts
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Naumburg Orchestral Concerts
ADDITIONAL INFORMATION

Philharmonia Baroque Orchestra

Under the musical direction of Richard Egarr in his inaugural season as Music Director, Philharmonia Baroque Orchestra & Chorale is recognized as “America’s leading historically informed ensemble” (The New York Times). Using authentic instruments and stylistic conventions from early Baroque to late Romantic periods as well as new commissioned works, the orchestra engages audiences through its signature Bay Area series, national tours, recordings, commissions, and education projects of the highest standard. Founded 40 years ago by Laurette Goldberg and led by Nicholas McGegan for the past 35 years, the ensemble is the largest of its kind in the United States.

PBO’s musicians are leaders in historical performance and serve on the faculties of The Juilliard School, San Francisco Conservatory of Music, Harvard, and Stanford. It welcomes eminent guest artists including mezzo-sopranos Susan Graham and Anne Sofie von Otter, countertenors Anthony Roth Costanzo and Aryeh Nussbaum Cohen, violoncellist Steven Isserlis, and maestros Jonathan Cohen and Jeannette Sorrell. PBO enjoys strong relationships with preeminent artistic collaborators including Mark Morris Dance Group, The Juilliard School, and the American Modern Opera Company (AMO). In collaboration with Cal Performances in 2017, PBO produced its first fully-staged opera, Rameau’s Le Temple de la Gloire, and since then have produced fully-staged productions of Handel’s Aci, Galatea e Polifemo with stage director Christopher Alden and Leclair’s Scylla et Glaucus with Centre de musique baroque de Versailles.

Among the most recorded orchestras in the world, PBO boasts a discography of nearly 50 recordings, including a coveted archival performance of mezzo-soprano Lorraine Hunt Lieberson in Berlioz’s Les Nuits D’été, and a GRAMMY®-nominated recording of Haydn symphonies. The orchestra released the world premiere recording of the original version of Rameau’s Le Temple de la Gloire with the unedited libretto by Voltaire in 2018. In April 2020, PBO will release two groundbreaking recordings: a full collection of commissioned works by Pulitzer Prize winner Caroline Shaw, and a selection of arias sung by rising star contralto Avery Amereau.

Under the superb direction of Bruce Lamott, the award-winning Philharmonia Chorale is critically acclaimed for its brilliant sound, robust energy, and sensitive delivery of the text. Formed in 1995, the Chorale provides a vocal complement whose fluency in the stylistic language of the baroque period matched that of Philharmonia Baroque Orchestra. Founded by John Butt, a baroque keyboardist and one of the world’s leading Bach scholars, the Chorale has been led by Lamott since 1997.

Bruce Lamott has been Director of the Philharmonia Chorale since 1997 and also serves as Philharmonia’s Scholar-in-Residence. He first performed with the Orchestra in 1989 as continuo harpsichordist for Handel’s Giustino. Bruce plays a leading role in the organization’s many educational programs for youth and adults. In addition to his lively pre-concert talks, Bruce writes PBO’s program notes and blogs, and gives lectures and demonstrations to groups throughout the Bay Area and beyond.

SOLOIST BIOS

Richard Egarr brings a joyful sense of adventure and a keen, inquiring mind to all his music-making—whether conducting, directing from the keyboard, giving recitals, playing chamber music, or indeed talking about music at every opportunity. After a successful career as Music Director of the Academy of Ancient Music for 14 years, where he succeeded founding director Christopher Hogwood, he joins Philharmonia Baroque Orchestra & Chorale as Music Director. Richard also holds responsibilities as Principal Guest Conductor of Residentie Orkest The Hague and Artistic Partner at The Saint Paul Chamber Orchestra in Minnesota, after having served as Associate Artist with the Scottish Chamber Orchestra. As a conductor, Richard straddles the worlds of historically-informed and modern symphonic performance, making him an ideal fit for PBO’s parallel commitments to early and new music. Richard is already well-known to the musicians and patrons of PBO, having guest conducted the orchestra four times since 2012 in both regular season offerings and the PBO SESSIONS series. In addition to his conducting genius, he is a brilliant harpsichordist, and equally skilled on the organ and fortepiano.

Richard is a beloved teacher and has been on faculty of The Juilliard School for eight years in their Historical Performance division, has conducted major symphonic orchestras such as London Symphony Orchestra, Lincoln Center Festival Orchestra, Seattle Symphony, and The Philadelphia Orchestra, and regularly gives solo harpsichord recitals at the Kennedy Center, Carnegie Hall, the Smithsonian, and elsewhere.

Born in Lincoln, England, Richard trained as a choirboy at York Minster, was organ scholar at Clare College Cambridge, and later studied with Gustav and Marie Leonhardt in Amsterdam, where he makes his home.

American bass-baritone Cody Quattlebaum is quickly establishing himself as one of the most exciting new vocal talents of his generation; equally in demand for both opera and concert in repertoire ranging from the Baroque to contemporary.

Highlights in the 2019/20 season include his debut for Opéra national du Rhin in the world premiere of Until the lions : Echoes from the Mahabharata by Thierry Pécou, Zuniga Carmen for Dutch National Opera, Beethoven Missa Solemnis with BBC National Orchestra of Wales, Berlioz Roméo et Juliette with the RTVE Symphony Orchestra, and a concert tour of Bach Coffee Cantata with the Philharmonia Baroque Orchestra & Choraleand Richard Egarr. In future seasons, Quattlebaum will make his debut at the Teatro Real, Madrid, and the Royal Opera House, Covent Garden.

Recent highlights include his debut at the BBC Proms in Handel Jeptha with the Scottish Chamber Orchestra, Don Fernando Fidelio with Marc Minkowski at the Théâtres de la Ville de Luxembourg, and Handel Brockes Passion and Bach St John Passion, both at the Barbican with Richard Egarr and the Academy of Ancient Music, Segeste Arminio and Dettingen Te Deum at the Händel-Festspiele in Göttingen where he also performed under the baton of Laurence Cummings. A member of the Dutch National Opera studio for the 2018/19 season, roles here included Geronimo Il matrimonio segreto and Bruno Zirato in the world premiere of Micha Hamel Caruso a Cuba. Prior to this, Quattlebaum was a member of the Opera Studio at the Opernhaus Zürich, performing roles such as Schriftsteller in the world premiere of Der Traum von Dir, Larkens La Fanciulla del West and Zuniga in Barrie Kosky’s acclaimed production.

Quattlebaum was a finalist at the Glyndebourne Cup in 2018 and at the Metropolitan Opera National Council competition in 2017, and the recipient of a Sara Tucker grant from the Richard Tucker Foundation. He studied at the Julliard School where roles included Claudio Agrippina and prior to this studied voice at the University of Cincinnati – College Conservatory of Music.

James Reese is a frequently sought soloist and collaborative musician. His 2019-20 season sees solo debuts with American Bach Soloists, the Gamut Bach Ensemble, Tempesta di Mare, the Harrisburg Symphony Orchestra, Piffaro, and the Master Chorale of South Florida. He also makes return appearances with Philharmonia Baroque Orchestra, TENET Vocal Artists, Lyric Fest, Philadelphia’s Bach @ 7 series, and Bach Vespers @ Holy Trinity Lutheran NYC.

Previously, James has appeared in concerts with Nicholas McGegan and Philharmonia Baroque Orchestra; the Calgary Philharmonic Orchestra; Bourbon Baroque Orchestra; Masaaki Suzuki and Juilliard415; the American Classical Orchestra; and at the Ad Astra Music Festival. In May 2018, he made his Carnegie Hall solo debut in Bach’s B Minor Mass with the New York Choral Society, directed by David Hayes. Of that performance, the New York Classical Review wrote, “the high, easy tenor of James Reese…floated beautifully on its own over the long, gentle lines of the Benedictus.“ In June 2018, he made his European debut with ensemble Seconda Prat!ca.

An advocate for new music, James is a founding member of Philadelphia vocal sextet Variant 6 (variantsix.com). He has premiered works by Caroline Shaw, Ted Hearne, John Luther Adams, Joanne Metcalf, Judd Greenstein, Joel Puckett, and others. James sings frequently with leading American choruses, including The Crossing, Santa Fe Desert Chorale, Seraphic Fire, True Concord, and The Thirteen. He has recorded on the ECM, Innova, and Albany labels; including The Crossing’s release of Gavin Bryars’ The Fifth Century, which won a Grammy award for Best Choral Performance in 2018. He also sang on 2016 Grammy-Nominated Bonhoeffer, released by the Crossing.

James is the 2018 winner of the Margot Fassler Award for the Performance of Music at Yale University, and the 2019 winner of the Career Advancement Grant from the Musical Fund Society of Philadelphia. He is a graduate of Northwestern University’s Bienen School of Music, where he studied with Kurt R. Hansen, Alan Darling, and Donald Nally. He completed his masters degree at Yale University’s Institute of Sacred Music, where he studied with James Taylor as part of the Yale Voxtet.

Soprano Nola Richardson is rapidly making her mark as an “especially impressive” (The New York Times) young soloist and has been praised by the Washington Post for her “astonishing balance and accuracy,” “crystalline diction” and “natural-sounding ease.” Her wide repertoire spans from music of the medieval period to several world premieres, and she performs frequently throughout the United States. Some highlights of her current and past seasons include her major symphony debut as the featured soloist with the Pittsburgh Symphony Orchestra, Seattle Symphony, Philharmonia Baroque, Baltimore Symphony Orchestra, Colorado Symphony and an appearance with the Boston Pops under Keith Lockhart in Simply Sondheim. She also made her debut with Opera Lafayette, The English Concert, The Baroque Chamber Orchestra f Colorado, Musica Sacra, and as the First Lady in Clarion Music Society’s production of Die Zauberflöte. Her recent performance with the American Classical Orchestra was described as a revelation by ConcertoNet.com: “Her single song from the carols, Or nous dites Marie, became a ray of resplendent light, a voice of virginal purity for those very pure songs.”

Previous seasons included her debuts with Seraphic Fire (St. Matthew Passion), the Bethlehem Bach Choir (BWV 68), American Classical Orchestra (C.P.E. Bach’s Magnificat), the Madison Bach Musicians (Dido and Aeneas), and the National Cathedral (in concert with trumpeter Josh Cohen). Other recent appearances include Handel’s Messiah with the Colorado Bach Ensemble; the St. Matthew Passion with the Messiah Festival of the Arts; works of Charpentier and Couperin with Les Délices of Cleveland,OH; Mendelssohn’s Elijah with the Oratorio Chorale of Portland, ME; Bach’s Mass in B Minor with the Master Chorale of South Florida and the Baltimore Choral Arts Society; the St. John Passion with Bach in Baltimore; Beethoven’s Missa Solemnis with the Chorus Pro Musica of Boston, MA; Bach’s Coffee Cantata with Mountainside Baroque and Bach’s Magnificat with the New Dominion Chorale.

Particularly noted for her interpretive skills in the Baroque repertoire, Nola was a 2016 First Prize winner in the Bethlehem Bach Competition and took home the Third Prize and Audience Favorite award in the 2016 Handel Aria Competition in Madison, WI. A dedicated ensemble and chamber singer, Nola has enjoyed joining the rosters of GRAMMY® nominated Seraphic Fire of Miami, GRAMMY® nominated Clarion Music Society in NYC, and the GRAMMY® nominated Choir of Trinity Wall Street in Manhattan. She also appears regularly with Yale Choral Artists, and Musica Sacra.

PROGRAM NOTES – BACH

Harpsichord Concerto in G Minor, BWV 1058

Bach had a lifelong affair with the concerto, dating back to his days as court organist for the ducal court in Weimar from 1708 to 1714, where he encountered the concertos by famous Italian composers, most notably Antonio Vivaldi, found in the music library of young Duke Ernst August. Bach not only learned by copying them, he transcribed them so that he could play them on the harpsichord and the organ. Vivaldi’s concertos in particular changed Bach’s approach to musical form, and playing these transcriptions likely planted in him the novel idea of liberating the utilitarian continuo harpsichord from its accompanimental role of improvising harmonies over the bass part to instead become a soloist on a par with Vivaldi’s virtuoso violinists.

Bach also realized the versatility of the concerto form, transcribing and transposing his own violin concertos for the harpsichord, as was the case of this concerto, originally written for violin in A minor and transposed to G minor for the harpsichord. The first is the most “violinistic” of its three movements, with leaping melodic figures that suggest string crossings. Just as the solo violin joins in unison with the first violins at times, the right hand of the harpsichordist disappears into the string ensemble only to resurface in solo episodes.

In the slow movement, the gently pulsing and heaving repeated bass pattern (ostinato) undergirds the plaintive solo with an almost Sisyphean affect of striving and resignation. Above the descending half-steps (chromaticism) in the bass, the solo ventures into almost “bluesy” harmonies.

The rollicking gigue of the third movement begins and ends with a complete ritornello, and in place of the idiomatic violin writing for open and rapidly repeating stopped strings (bariolage), the harpsichord downshifts into a flurry of sixteenth notes scales and oscillating figures, twice the speed of the prevailing eighths in the orchestra.

Bruce Lamott

GLOSSARY : BACH

BWV Not to be confused with “the ultimate German driving machine,” it’s a composition’s listing in the Bach Werke Verzeichnis, the catalog of Bach’s complete works. The works are grouped by genre, not the chronological order in which they were written, as in the Köchel catalog of Mozart’s works. The church cantatas begin with BWV 1, secular cantatas with BWV 200, concertos of all types with BWV 1041, and the orchestral suites with BWV 1066.

cantata An unstaged vocal work (as opposed to the instrumental “sonata”) in several movements with accompaniments ranging from orchestra to continuo alone. Though Bach’s more than two hundred extant sacred and secular “cantatas” are the best-known examples of the genre, the label was applied indiscriminately by nineteenth century editors of his works. Bach titled vocal music for the church simply Musik, Stück (piece), or even “concerto.” However, the word “cantata” appears on the autograph manuscript of Cantata BWV 211, the “Coffee Cantata.”

concerto A piece for orchestra that features a solo instrument in a prominent role, usually written in three movements (fast-slow-fast). Bach also transcribed orchestral concertos for organ or harpsichord alone, using two keyboards (manuals) to differentiate the solo and tutti parts.

continuo The foundation of the Baroque orchestra, consisting of bowed bass instruments (cello, violone) plus chordal instruments (harpsichord, organ, therobo or guitar) who improvise the harmonies corresponding to numerical symbols (figures) above the bass line, called the “figured bass.” The term itself indicates that this group plays, well, continually throughout the composition unless specifically indicated. Passages without continuo are rare and quite evident for their change in the orchestral sound.

obbligato A solo instrument (flute, violin, oboe, etc.) written to be played as a co-equal to a vocal soloist. The choice of that instrument often reflects the content of the text, e.g. a trumpet obbligato for a military text or recorder for text pertaining to birds. In harpsichord concertos, the designation “obbligato” indicates that the “obligatory” right hand part must be played as written and not improvised over the bass line, as it would when playing a continuo part.

ritornello Literally “the little thing that returns,” it is the musical frame that begins and ends a concerto movement played by the entire ensemble (also known as tutti). Portions of the ritornello usually reappear throughout the movement, either as accompaniment or as interludes that signal changes of key.

transcription The process of adapting a composition written for one instrument or group of instruments so that it can be played on another. In transcribing a concerto of Vivaldi, Bach takes works written for soloist(s) and orchestra and merges the parts together until they are playable on the harpsichord by two hands or on the organ, with two hands and feet.

transposition Moving a piece of music from one key to another, usually to accommodate range or a change of instrument. In the case of the first work on this program, the transposition is the change of key from the original A minor to G minor and the transcription is from the original instrumentation of solo violin and string orchestra to that of harpsichord and orchestra.

– Bruce Lamott

ADDITIONAL INFORMATION

“A performer of near-superhuman technical prowess” (The New York Times), pianist Marc André Hamelin is known worldwide for his unrivaled blend of consummate musicianship and brilliant technique in the great works of the established repertoire, as well as for his intrepid exploration of the rarities of the 19th, 20th, and 21st centuries – in concert and on disc – earning him legendary status as a true icon of the piano.

Mr. Hamelin begins the 19/20 season performing the Brahms Piano concerti with the Orchestre Métropolitain and Yannick Nézet-Séguin at Le Festival de Lanaudière, and the world premiere of Ryan Wigglesworth’s piano concerto at the BBC Proms, led by the composer. Other summer appearances include recitals at the Schubertiade, Helsingborg Piano Festival, Mänttä Music Festival, Domaine Forget, Orford Music Festival, the Newport Music Festival, and at the Rosendal Chamber Music Festival with friend and regular collaborator, Leif Ove Andsnes.

“A performer of near-superhuman technical prowess.” — The New York Times

Recital appearances this season include a return to Carnegie Hall’s Stern Auditorium/Perelman Stage on the Great Artists Series. He also performs at Wigmore Hall, the George Enescu Festival, Ascona (Switzerland), Prague, Munich, Alte Oper Frankfurt, Stuttgart, Moscow State Philharmonic, at the Elbphilharmonie for the Husum Rarities of Piano Music Festival, Monte Carlo, and the Heidelberg Festival, among other dates.

Mr. Hamelin is the inaugural guest curator for Portland Piano International, where he opens the season with two solo recitals. He returns to San Francisco Performances – a series with whom he has a long and deeply supportive artistic relationship – as a Perspectives Artist for their 40th Anniversary Season, performing a solo recital; Die Winterreise with tenor Mark Padmore; and the world premiere of his own Piano Quintet, commissioned by SFP and performed by himself and the Alexander String Quartet.

An exclusive recording artist for Hyperion Records, in 19/20, Hyperion releases two albums by Mr. Hamelin – one a solo disc and the other with the Takács Quartet. He recently released a disc of Schubert’s Piano Sonata in B-Flat Major and Four Impromptus; a landmark disc of Stravinsky’s The Rite of Spring and Concerto for Two Pianos with Leif Ove Andsnes; Morton Feldman’s For Bunita Marcus; and Medtner’s Piano Concerto No. 2 and Rachmaninov’s Piano Concerto No. 3 with the London Philharmonic Orchestra and Vladimir Jurowski. His impressive Hyperion discography of more than 60 recordings includes concertos and works for solo piano by such composers as Alkan, Godowsky, and Medtner, as well as brilliantly received performances of Brahms, Chopin, Liszt, Schumann, and Shostakovich.

He was honored with the 2014 ECHO Klassik Instrumentalist of Year (Piano) and Disc of the Year by Diapason Magazine and Classica Magazine for his three-disc set of Busoni: Late Piano Music and an album of his own compositions, Hamelin: Études, which received a 2010 Grammy nomination and a first prize from the German Record Critics’ Association.

Mr. Hamelin was a distinguished member of the jury of the 15 th Van Cliburn International Piano Competition in 2017 where each of the 30 competitors in the preliminary round performed Hamelin’s Toccata on L’Homme armé; this was the first time the composer of the commissioned work was also a member of the jury. Mr. Hamelin has composed music throughout his career, with nearly 30 compositions to his name. The majority of those works – including the Études and Toccata on L’Homme armé – are published by Edition Peters.

Mr. Hamelin makes his home in the Boston area with his wife, Cathy Fuller. Born in Montreal, Marc-André Hamelin is the recipient of a lifetime achievement award from the German Record Critics’ Association and has received seven Juno Awards and eleven GRAMMY nominations. He is an Officer of the Order of Canada, a Chevalier de l’Ordre du Québec, and a member of the Royal Society of Canada.

Canadian-born violinist Lara St. John has been described as “something of a phenomenon” by The Strad and a “high-powered soloist” by The New York Times.

She has performed as soloist with the orchestras of Cleveland, Philadelphia, San Francisco, Seattle, Toronto, Montreal, Vancouver, Belgrade, Amsterdam, the Royal Philharmonic, NDR Symphony, Ensemble Orchestral de Paris, Camerata Ireland, Queensland, Adelaide, Auckland, Tokyo, Kyoto, the Yomiuri Nippon Symphony, the China Philharmonic, Shanghai, Hong Kong, São Paulo, Orquestra Sinfonica Brasileira and Orquesta Sinfónica Nacional de México, among many others.

Recitals in major concert halls have included New York, Boston, San Francisco, Washington, Prague, Berlin, Toronto, Montreal, Bogotá, Lima and the Forbidden City.

Lara manages her own label, Ancalagon, which she founded in 1999. Her Mozart recording won a Juno Award in 2011. In 2014, her Schubert album, with harpist Marie-Pierre Langlamet, cellist Ludwig Quandt and soprano Anna Prohaska, was chosen as one of the “Best CDs of Spring” by Der Tagesspiegel. Her 2016 release of re-imagined folk music, with pianist Matt Herskowitz, earned a five-star review from All About Jazz.

She has been featured in People, US News and World Report, NPR’s All Things Considered, the CBC, BBC, a Bravo! special and on the cover of Strings.

Lara began playing the violin when she was two, made her first appearance as soloist with orchestra at four, and her European debut at 10. She entered the Curtis Institute at 13. Her teachers have included Felix Galimir and Joey Corpus.

She performs on the 1779 “Salabue” Guadagnini.

The Ulysses String Quartet has been praised for their “textural versatility,” “grave beauty,” “the kind of chemistry many quartets long for, but rarely achieve” (The Strad) as well as “avid enthusiasm … [with] chops to back up their passion” (San Diego Story), “delivered with a blend of exuberance and polished artistry” (Buffalo News).

Founded in the summer of 2015, the group won first prize in the 2018 Schoenfeld International String Competition and the grand prize and gold medal in the senior string division of the 2016 Fischoff National Chamber Music Competition. Ulysses also finished first in the American Prize and won second prize at the Osaka International Chamber Music Competition in 2017. The quartet were most recently grand prize winners of the Vietnam International Music Competition in August 2019.

Consisting of Christina Bouey and Rhiannon Banerdt on violin, Colin Brookes on viola and Grace Ho on cello, the Ulysses Quartet were appointed Lisa Arnhold Fellows of the Juilliard School.

Hailing from Canada, the United States and Taiwan, the Ulysses String Quartet has performed in such prestigious halls such as the Harbin Grand Theatre, Jordan Hall, and the Taiwan National Recital Hall. Recent performance highlights have included their debut at Alice Tully Hall, along with appearances at the Chamber Music Society of Lincoln Center and La Jolla Music Society Summerfest. Other notable recent engagements include Buffalo Chamber Music Society, Jordan Hall, South Orange Performing Arts Center, Sprague Hall at Yale University, Mostly Music, Rhode Island Chamber Music Concerts, Chamber Music Society of Bethlehem, Premiere Performances Hong Kong, the National Arts Centre in Ottawa, Bargemusic, Eastman School of Music and the Vietnam Connection Music Festival.

For the last three years, Ulysses was in residence at the Louis Moreau Institute in New Orleans, working with the composer Morris Rosenzweig. As a special project, the group will record the quartets of composer Joseph Summer at Mechanics Hall in Worcester, Massachusetts, over the next several years. In 2020 Ulysses will embark on recording projects for five albums involving three quartet albums, and collaborations with artists flutist Ransom Wilson and guitarist Ben Verdery.

Upcoming performances include a Carnegie Hall debut, Cecilia Concerts in Halifax, Nova Scotia, Montreal Chamber Music Festival, Naumburg Orchestral Concerts Summer Series, Carnegie Hall’s Beethoven Festival at YIVO, the Idyllwild Festival in California, Quogue Chamber Music in Long Island, New York, Geneva Music Festival, Music Mountain, Emory University in Atlanta, and Dumbarton Concerts in Washington, DC.

The group’s name pays homage to Homer’s hero Odysseus and his 10-year voyage home. Additionally, the quartet’s members live in close proximity to the resting place of former U.S. President Ulysses S. Grant in Upper Manhattan. The Ulysses String Quartet believes intensely in the power of music to inspire, enlighten and bring people together. The quartet is committed to sharing this passion by increasing access to and appreciation for classical music while enhancing audience engagement. To this end, the quartet offers interactive programs and workshops for all ages that serve to demystify the traditional repertoire while introducing audiences to exciting new works. Their programs frequently enable participants to learn about the inner workings of a string quartet, and to explore the connections between classical music and our world today.

The members of Ulysses hold degrees from the Juilliard School, Manhattan School of Music, New England Conservatory and Yale University. The musicians perform on instruments and bows graciously on loan from the Juilliard School, Canada Council of the Arts Instrument Bank and the Maestro Foundation. Ulysses is grateful for the support of Shar and Connolly Music.

JULY 30, 2019 @ 7:00 PM

Orchestra of St. Luke’s

Anna Clyne, (1980), Prince of Clouds, (2012)

2 Violin soloists, Jesse Mills & Krista Bennion Feeney

Florence Price, (1887-1953), Songs, (1930’s & 40’s)

Soprano– Jasmine Muhammad –

INTERMISSION

Samuel Barber, (1910-81), Adagio for Strings, (1936) –

Aaron Copland, (1900-90), Appalachian Spring, (1943-44) –

Conductor: Tito Muñoz

Soloists: Jesse Mills & Krista Bennion Feeney – for Anna Clyne pieceJasmine Muhammad – for Florence Price songs

**The performance of Orchestra of St. Luke’s has been made possible by a generous grant from the Hess & Helyn Kline Foundation**

WQXR HOST: Jeff Spurgeon

ADDITIONAL INFORMATION

Orchestra of St. Luke’s

Orchestra of St. Luke’s (OSL) began in 1974 as a group of virtuoso musicians performing chamber music concerts at Greenwich Village’s Church of St. Luke in the Fields. Today, the Orchestra performs at New York’s major concert venues across diverse musical styles and genres and has collaborated with artists ranging from Renée Fleming and Joshua Bell to Bono and Metallica. The Orchestra has participated in 118 recordings, four of which have won Grammy Awards, has commissioned more than 50 new works, and has given more than 175 world, U.S., and New York City premieres. In the fall of 2018, internationally celebrated expert in 18th-Century music, Bernard Labadie, will join the Orchestra as Principal Conductor, continuing the Orchestra’s long tradition of working with proponents of historical performance practice.OSL’s signature programming includes a subscription series presented by Carnegie Hall; an annual multi-week collaboration with Paul Taylor American Modern Dance at Lincoln Center; an annual summer residency at Caramoor Center for Music and the Arts; and a chamber music festival featuring appearances at The Morgan Library & Museum, the Brooklyn Museum, and Merkin Concert Hall at Kaufman Music Center. Nearly half of OSL’s performances each year are presented free of charge through its education and community programs. These include the five-borough Music in Color concert tour championing composers of color; the Free School Concert series of orchestral and cross-genre programs reaching over 10,000 New York City public school students annually; and a range of creative family programs and concerts. Additionally, OSL provides free instrumental coaching and presents student performances though its Youth Orchestra of St. Luke’s and its Mentorship Program for Pre-Professional Musicians.OSL built and operates The DiMenna Center for Classical Music in Hell’s Kitchen, New York City’s only rehearsal, recording, education, and performance space expressly dedicated to classical music. The Center serves more than 500 ensembles and more than 30,000 musicians each year and is an indispensable resource for classical music performance and production in the city. More than 170 studio recordings have been produced at The DiMenna Center since it opened in 2011.

SOLOISTS

TITO MUÑOZ is internationally recognized as one of the most gifted and versatile conductors on the podium today Tito Muñoz recently renewed his post as Music Director of the Phoenix Symphony for a second term. He has appeared with many of the most prominent orchestras in North America, including those of Atlanta, Boston and Cleveland, the Orchestra of St. Luke’s and the National Symphony Orchestra in Washington, D.C., and also maintains a strong international conducting presence, leading among others the Frankfurt Radio Symphony, Sao Paolo State Symphony, Lausanne Chamber Orchestra, Danish National Chamber Orchestra, Auckland Philharmonia, and Sydney Symphony. As a proponent of new music Tito champions many composers of our time through expanded programming, commissions, premieres, and recordings, including Mauricio Sotelo, Michael Hersch, Adam Schoenberg, and Dai Fujikura.

JASMINE MUHAMMAD is a versatile vocalist, bridging the genre gap at every turn.

Most recently, she appeared as Hattie in Pittsburgh Opera’s world premiere of The Summer King. During her successful three year tenure as a Pittsburgh Opera Resident Artist, Jasmine appeared as Rodelinda in Handel’s Rodelinda and Micaëla in Bizet’s Carmen (2015); the High Priestess in Verdi’s Aida, First Lady in Mozart’s The Magic Flute, Eliza in Muhly’s Dark Sisters and Mimi in the student matinee of Puccini’s La Boheme (2013-2014). In the 2012 season, she appeared as Countess Ceprano in Verdi’s Rigoletto and Elisetta in Il matrimoniosegreto. Other operatic performances include Woman in a Hat and Duchess in The Ghosts of Versailles with Manhattan School of Music Opera Studio and First Lady in Die Zauberflöte with Martina Arroyo’s Prelude to Performance. In Summer 2012, Ms. Muhammad joined the International Vocal Arts Institute in Tel Aviv, Israel under the direction of Joan Dornemann.

Ms. Muhammad has sung background vocals for John Legend with the Los Angeles Philharmonic at the Marvin Gaye “What’s Going On” Tribute. She has also performed with Warren Haynes on the Jerry Garcia Symphonic Celebration Tour for four years. Most recently, Ms. Muhammad was awarded a 2015-2016 Sullivan Foundation Award and placed first in the 2015 Harlem Opera Theatre Vocal Competition. Ms. Muhammad is a 2014-2015 Metropolitan Opera National Council District winner and received Encouragement Awards from Metropolitan Opera National Council District Level competitions in 2015-2016, 2013-2014 and 2012-2013. She also received a Commendation for Excellence from the 2014 Mildred Miller International Voice Competition.

Ms. Muhammad holds a master’s degree in voice from Manhattan School of Music and a bachelor’s degree in voice from the Chicago College of Performing Arts.

KRISTA BENNION FEENEY has enjoyed an unusually varied career much in demand as a soloist, chamber musician, music director, and concertmaster. Krista has been a member of the St. Luke’s Chamber Ensemble (serving for eight years as director of chamber music) and the Orchestra of St. Luke’s since 1983, where she performs frequently in the roles of concertmaster and violin soloist. She is currently involved in rediscovering and reviving a musical sound world from the past as the founding first violinist of the Serenade Orchestra and Quartet, playing music of the late-18th and early-19th centuries on historic instruments with original instrumental configurations. From 1999-2006, she was the music director of the unconducted New Century Chamber Orchestra based in San Francisco.

She has made several solo appearances with the San Francisco Symphony (making her debut in Mendelssohn’s Violin Concerto in e minor at age 15), with the St. Louis Symphony, the Philadelphia Chamber Orchestra in the world premiere of SolTierraLuna (a concerto written for her by Terry Riley), the Mostly Mozart Festival, and the New York String Orchestra at Carnegie Hall and at the Kennedy Center, in addition to several historic instrument ensembles.

Highlights of the 2016-2017 season included performances of Lou Harrison’s Suite for Violin and American Gamelan, in which The New York Times review stated “…the violinist Krista Bennion Feeney spun out beguiling figurations and subtle melodic twists…” and Nardini’s e minor violin concerto and Paganini’s La Campanella on historic violin with the American Classical Orchestra. Of her performance in Ralph Vaughan Williams’ The Lark Ascending with the Orchestra of St. Luke’s, conducted by Sir Simon Rattle, she was described by The Times as “…the superb violin soloist…”

She is the founding first violinist of the DNA Quintet, Loma Mar Quartet, and Ridge String Quartet (1979-1991), which, along with pianist Rudolf Firkusny, won the Diapason d’Or and a Grammy Award nomination in 1992 for its RCA recording of Dvorak’s Piano Quintets. The DNA Quintet, comprised of the Loma Mar Quartet with the addition of bassist John Feeney, has released world-premiere recordings of string quartets and quintets of Domenico Dragonetti on historic instruments to critical and popular acclaim, bringing this uniquely beautiful music to light after being hidden for more than 165 years in the British Library. The Loma Mar Quartet has also recorded original works written for the ensemble by Paul McCartney for EMI, and its members were recently featured as soloists in Arnold Schoenberg’s Concerto for Quartet and Orchestra with the San Francisco Ballet Orchestra, and with the Orchestra of St. Luke’s for Paul Taylor’s American Modern Dance performances. Krista studied violin with Anthony Doheny, then Isadore Tinkleman and Stuart Canin at the San Francisco Conservatory, working later at the Curtis Institute with Jaime Laredo, Felix Galimer and Mischa Schneider.

In May 2014, The Times praised Krista’s playing of a violin sonata by Jean-Marie Leclair saying: “Her deep notes were rich and melancholy … there was a tender exuberance in both tumbles of notes and sustained phrases … a dramatic interplay of ferocity and light slyness.”

JESSE MILLS Two-time Grammy nominated violinist Jesse Mills enjoys performing music of many genres, from classical to contemporary, as well as composed and improvised music of his own invention.

Since his concerto debut at the Ravinia Festival in Chicago, Mr. Mills has performed throughout the U.S. and Canada. He has been a soloist with the Phoenix Symphony, the Colorado Symphony, the New Jersey Symphony, the Green Bay Symphony, Juilliard Chamber Orchestra, the Denver Philharmonic, the Teatro Argentino Orchestra (in Buenos Aires, Argentina), and the Aspen Music Festival’s Sinfonia Orchestra.

As a chamber musician Jesse Mills has performed throughout the U.S. and Canada, including concerts at Lincoln Center’s Alice Tully Hall, Carnegie Hall, the 92nd Street Y, the Metropolitan Museum, the Kennedy Center in Washington, DC, Boston’s Gardener Museum, Chicago’s Ravinia Festival, and the Marlboro Music Festival. He has also appeared at prestigious venues in Europe, such as the Barbican Centre of London, La Cité de la Musique in Paris, Amsterdam’s Royal Carré Theatre, Teatro Arcimboldi in Milan, and the Palais des Beaux Arts in Brussels. Mills is co-founder of Horszowski Trio and Duo Prism, a violin-piano duo with Rieko Aizawa, which earned 1st Prize at the Zinetti International Competition in Italy in 2006. With Ms. Aizawa, Mills became co-artistic director of the Alpenglow Chamber Music Festival in Colorado in 2010.

Mills is also known as a pioneer of contemporary works, a renowned improvisational artist, as well as a composer. He earned Grammy nominations for his performances of Arnold Schoenberg’s music, released by NAXOS in 2005 and 2010. He can also be heard on the Koch, Centaur, Tzadik, Max Jazz and Verve labels for various compositions of Webern, Schoenberg, Zorn, Wuorinen, and others. As a member of the FLUX Quartet from 2001-2003, Mills performed music composed during the last 50 years, in addition to frequent world premieres. As a composer and arranger, Mills has been commissioned by venues including Columbia University’s Miller Theater, the Chamber Music Northwest festival in Portland, OR and the Bargemusic in NYC.

Jesse Mills began violin studies at the age of three. He graduated with a Bachelor of Music degree from The Juilliard School in 2001. He studied with Dorothy DeLay, Robert Mann and Itzhak Perlman. Mr. Mills lives in New York City, and he is on the faculty at Longy School of Music of Bard College and at New York University. In 2010 the Third Street Music School Settlement in NYC honored him with the ‘Rising Star Award’ for musical achievement.

JULY 18, 2019 @ 7:00 PM

A Far Cry

Georg Muffat, (1653-1704), Concerto Grosso No. 12 “Propitia Sydera”, (1701) —

Sonata-Grave, Aria-Largo, Gavotta-Alla breve e presto, Grave, Ciacona-Un poco grave, Borea-Allegro —

Caroline Shaw, (1982), Entr’acte, (2011, adapted for String Orchestra by A Far Cry 2014) —

Lembit Beecher, (1980), Conference of the Birds, (2017, Premiered with A Far Cry, 2018) NEW YORK CITY PREMIERE —

INTERMISSION

Pyotr Ilyich Tchaikovsky, (1840-1893), Serenade in C Major, Op. 48, (1880) —

Pezzo in forma di sonatina: Andante non troppo — Allegro moderato

Valse: Moderato — Tempo di valse

Élégie: Larghetto elegiac

Finale (Tema russo): Andante — Allegro con spirito —

**The performance of A Far Cry has been made possible by a generous grant from The Arthur Loeb Foundation.**

WQXR HOST: Paul Cavalconte

ADDITIONAL INFORMATION

PROGRAM NOTES

Georg Muffat (1653-1704) :: Ciacona from Concerto Grosso No. XII, Propitia Sydera (To appease the stars)

The Italian violin virtuoso Arcangelo Corelli was at the center of a musical universe revolving around him, both in interest and influence. His renown stretched across the continent, and over to England, where the Italian music (especially of Corelli) was the rage. You either wanted to meet him, or did—and made sure to let everyone know about it.

Georg Muffat, a French composer of Scottish descent, was introduced to the concerti grossi of Corelli (his exact contemporary) during a sojourn to Rome, and subsequently wrote in the genre as well, completing twelve within his lifetime. An exciting instrumental format in the days prior to symphonies, the concerto grosso displayed the virtuosity of a smaller group of instrumentalists in conversation—at times perhaps argument—with a larger ensemble (the “concertino” and the “ripieno,” respectively). Movements of works were often imitative and inspired by dance. A popular one to riff on was the Ciaconna because of its repetitive base line upon which multiple variants of melodic material could be overlaid. Though traditionally a more fast-paced dance, as it became adapted for instrumental music it also was often slowed down to a more somber, or regal pace, as Muffat does here. Echoes of that earlier, jazzy, Ciaconna can still be found carefully embedded within Muffat’s composition; two contrasting versions of the same form, engaging in brilliant dialogue with each other.

Caroline Shaw (b. 1982) :: Entr’acte

Entr’acte was written in 2011 after hearing the Brentano Quartet play Haydn’s Op. 77 No. 2 — with their spare and soulful shift to the D-flat major trio in the minuet. It is structured like a minuet and trio, riffing on that classical form but taking it a little further. I love the way some music (like the minuets of Op. 77) suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle, technicolor transition.

-Caroline Shaw

Lembit Beecher (b. 1980) :: The Conference of the Birds

“The Conference of the Birds” is a 12th-century Sufi epic poem by the Persian poet Farid ud-Din Attar. It tells a story about the birds of the world who gather together in a time of strife. Led by the hoopoe bird, they decide to set out on a long journey to find their king. Many birds desert or die along the journey, but after passing through valley after valley, the remaining 30 arrive at a lake at the top of a mountain. Looking in the lake at their own reflection, they finally see their king. I first came across it through an adaptation by the brilliant Czech-American illustrator and author Peter Sís. This was one of the most beautiful books I had ever seen: an adult picture book with an unusual graphic sensibility, a concise and beautifully ambiguous text, and full-page illustrations of mysterious landscapes that carried surprising emotional weight. Numerous adaptations of the original poem, including plays, children’s books and pieces of music, emphasized the story’s simple yet colorful narrative and moral didacticism, but what drew me to Sís’s version, aside from the expressive, textural drawings which so suggested music, was the deep sense of loss in the pages. So many birds are left by the wayside during this journey towards truth and enlightenment. Does progress or attempted progress always come at a cost?

I initially thought about trying to turn the story into an opera – but I realized I was less interested in the narrative scope of the story than in the emotions and visceral energy of specific moments. I also knew I wanted to write music as Sís created his drawings, with strong gestures and lots of small figures combining to form large shapes. A string orchestra seemed perfect for creating solo lines that gathered into clouds of sounds. When I began talking to A Far Cry about writing a piece, I realized this would be a perfect project for the group. Having gotten to know the group, I wanted to write music for individual personalities: each member of the ensemble has his/her own part. These parts join each other in different combinations, but just as quickly split up again. The leadership of the music, and the relationship of individuals to the group is always changing. As I wrote I thought about the power of crowds, and the value of individuality versus unity, but I also thought about the players of A Far Cry, and how much I admire the way they function as an ensemble, share leadership, and make music together. “The Conference of the Birds” is about 20 minutes long and is in three movements. The final two are played without a pause.

—Lembit Beecher

Pyotr Ilyich Tchaikovsky (1840-1893) :: Serenade for Strings in C major, Op. 48

Tchaikovsky once wrote, “I don’t just like Mozart, I idolize him.” In an era predating recording devices, the only way one could become familiar with hearing the works of a composer was to either attend concerts where the music was being performed, or be wealthy enough to hire people to play it for you at home. So, to broaden public knowledge of his idol, in 1887 Tchaikovsky re-arranged four Mozart pieces into the Suite No. 4 in G Major, Op. 61, (“Mozartiana”). Seven years earlier he wrote the Serenade for Strings in C Major, the first movement of which was meant to be reflective of Mozart whom he thought was “devoid of self-satisfaction and boastfulness…a genius whose childlike innocence, gentleness of spirit…are scarcely of this earth.”

How appropriate that those sentiments found an outlet in a serenade, a genre richly cultivated by Mozart who transformed them from the musical toss-offs they historically were (often serenades were only performed once and enjoyed casually in the evening, like an audible amuse-bouche) into sublime concert works worthy of repeat performances.

The Serenade for Strings is distinctly Tchaikovsky, yet distilled. Here he leaves aside his occasionally bombastic sensibilities and overt desire for virtuosity in order to showcase his extraordinary gift for lyrical melody, which in this setting sparkles like a rare jewel catching and embracing rays of light. In a letter to his patroness and friend Nadezhada von Meck he wrote, “It is a heartfelt piece and so, I dare to think, is not lacking in real qualities.”

Observed as “string quintet in texture,” it begins with a lush descending homophonic motif commencing what will be a tense relationship between gravity and anti-gravity via long descending and ascending lines throughout the larger structure of the first three movements. The effect is a work that breathes with lines working in harmony of movement—which is perhaps why George Balanchine set the work to choreography. The charming Valse of the second movement glimmers all the more next to the noble melancholy of the Élégie, featuring melodies infused with signature Tchaikovsky yearning and striving. The Finale, at least temporarily, appears to break the tug between rising and descending in its suspended hovering like an autumn leaf fluttering in midair right before it is carried away in a flurry of an upward breeze—or, in this case, a whirlwind of Russian folk melodies, which are in turn abruptly brought to an end with the solemn return of the opening material. It returns only briefly, however, before it dissolves effortlessly in a seamless metamorphosis back into vivacity.

Program Notes by Kathryn J Allwine Bacasmot. Kathryn is a pianist/harpsichordist, musicologist, music & cultural critic, and freelance writer. She is a graduate of New England Conservatory, and writes program annotations for ensembles nationwide.

A Far Cry

Called a “world-wide phenomenon” by Boston’s WBUR, A Far Cry has nurtured a distinct approach to music-making since its founding in 2007. The self-conducted orchestra is a democracy in which decisions are made collectively and leadership rotates among the players (“Criers”). This structure has led to consistently thoughtful, innovative, and unpredictable programming — and impactful collaborations with celebrated performers and composers. Over the past year, A Far Cry has risen to the top of Billboard’s Traditional Classical Chart, been named Boston’s best classical ensemble by The Improper Bostonian, and celebrated two Grammy nominations for its Visions and Variations. Boston Musical Intelligencer sums up the group: “In its first decade, this conductor-free ensemble has earned and sustained a reputation for top-drawer playing, engrossing programming, and outstanding guest artists.”

A Far Cry’s omnivorous approach has led to collaborations with artists such as Yo-Yo Ma, Simone Dinnerstein, Roomful of Teeth, the Silk Road Ensemble, Vijay Iyer, and David Krakauer. A Far Cry’s 13th season in 2019-20 includes nine Boston-area concerts as part of the group’s own series, and a celebration of the conclusion of a 10-year residency at the Isabella Stewart Gardner Museum with three concerts—the last a blowout/collaboration with Boston hip-hop luminary Moe Pope. The orchestra also tours its “Memory” program, with concerts at University of Colorado, Wake Forest University, and a debut performance at the Kennedy Center in March.

Recent tour highlights include two new commissioning projects: Philip Glass’ third piano concerto with soloist Simone Dinnerstein, and The Blue Hour, “a gorgeous and remarkably unified work” (Washington Post) written by a collaborative of five leading female composers – Rachel Grimes, Angélica Negrón, Shara Nova, Caroline Shaw, and Sarah Kirkland Snider; and featuring Grammy-winning singer Luciana Souza.

A Far Cry’s Crier Records launched auspiciously in 2014 with the Grammy-nominated album Dreams and Prayers. The label’s 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 Music, which named A Far Cry as one of the “Imagination-Grabbing, Trailblazing Artists of 2014.” In 2018, Crier Records released A Far Cry’s Visions and Variations, featuring variations by Britten and Prokofiev, and Ethan Wood’s re-imagining of Mozart’s “Ah vous-dirai-je Maman.” The album received two Grammy nominations, including one for Best Chamber Music Performance.

The 18 Criers are proud to call Boston home, and maintain strong roots in the city, rehearsing at their storefront music center in Jamaica Plain and fulfilling the role of Chamber-Orchestra-in-Residence at the Isabella Stewart Gardner Museum. Collaborating with local students through educational partnerships with the New England Conservatory and Project STEP, A Far Cry aims to pass on the spirit of collaboratively-empowered music to the next generation.

JUNE 18, 2019 @ 7:00 PM

The Knights

Colin & Eric Jacobsen, Artistic Directors

Eric Jacobsen, conductor

Colin Jacobsen, (1978-), What is the Grass ?

Kristina Nicole Miller, narrator —

Benjamin Britten, (1913-76), Lachrymae, Op. 48a, (1950, orch.1976)

Nicholas Cords, viola —

Eric Jacobsen, (1982-) Letters from God

arr. Kyle Sanna/Colin Jacobsen, Kristina Nicole Miller, narrator —

Kyle Sanna, (1975-) Immense have been the Preparations

arr. Colin Jacobsen, Kristina Nicole Miller, narrator —

Lisa Bielawa, (1968-), Fictional Migration, (Solo Flute and Horn with strings)

(WORLD PREMIERE ARR.), Alex Sopp, flute Michael Atkinson, horn —

INTERMISSION

Felix Mendelssohn, (1809-47), String Octet, Op. 20, (1825)

Allegro moderato ma con fuoco (E-flat major)

Andante (C minor)

Scherzo: Allegro leggierissimo (G minor)

Presto (E-flat major) —

**The performance of The Knights has been made possible by a generous grant from the MacDonald-Peterson Foundation.**

WQXR HOST: Elliott Forrest

ADDITIONAL INFORMATION

PROGRAM NOTES

What is it then between us?

What is the count of the scores or hundreds of years between us?

— Walt Whitman, Crossing Brooklyn Ferry

Every year we look forward to the summer season, where music can live and breathe in open air and be shared freely with New Yorkers ranging from the lifelong classical music aficionado to those who just happen to be passing by. They hear the strains of Beethoven mingling with birds at dusk, blaring sirens and the general hum of the city, are drawn in and stop to experience a moment of unexpected contemplation amidst the swirl of it all… We thank Naumburg Orchestral Concerts for providing this “Whitmanic” service to New York since 1905, with The Knights participating now eleven years running. Though the ambience of Central Park will be missed, we are thrilled to make music in another NY landmark for the first time, Temple Emanu-El. Today we are celebrating two birthdays in which voices from the past reach across time and continue to resonate with us. One is a human being: Walt Whitman, the American bard whose 200th birthday is being observed this year. The other is an instrument: an Amati viola, four hundred years old, owned by our friend Richard Prins and generously loaned to Nicholas Cords, whose performance of Benjamin Britten’s Lachrymae will give its unique voice a special platform to sing for this occasion.

Whitman’s Song of Myself, radical for its time, composed in a time of great political polarization and divide leading up to the Civil War, is, in the words of Karin Coonrod (Director, Compagnia de’ Colombari) “a radical statement of interdependence.” Whitman’s relationship with music is well-documented, as he was a journalist and music critic familiar with the hymns, folk music and popular ballads of the day alongside Europe’s latest operas, oratorios, orchestra and chamber music. He credited music, and in particular opera, as being the source that unlocked his poetic inspiration, leading to the 1855 version of Leaves of Grass.

Eric Jacobsen, me, Knights flutist Alex Sopp, and frequent Knights guitarist/composer Kyle Sanna wrote music about 10 years ago for More Or Less I Am… a theatrical version of Whitman’s Song of Myself, created and conceived by Coonrod. Coonrod’s theater troupe Compagnia de’ Colombari recently remounted the piece in public spaces, parks and correctional facilities all over New York. We wanted to continue the celebration by expanding the orchestration of a few of these numbers for you tonight. We are grateful to Kristina Nicole Miller for being here to speak-sing Whitman’s words out loud.

Like many of the great composers of the past, English composer Benjamin Britten (1913-1976) was both a violist and a pianist. In the original version of his Lachrymae (written supposedly to induce the great Scottish violist William Primrose to come play with him at his nascent Aldeburgh Festival) he combined the two instruments. Britten was a master of theme and variations, which is the form this piece takes, though with an unusual twist. Instead of the theme being presented at the beginning in the usual manner and then the variations being elaborations, ornamentations and development of that theme; here the variations and development come first, time seems to take place in reverse and the theme is heard in its complete form only at the end as a solemn revelation. Britten was a great champion of music from England’s distant past, particularly the works of Henry Purcell (1659-1695) and lute master/composer John Dowland (1563-1626). It is the latter’s song, If My Complaint Could Passions Move that is revealed at the end of the piece and is the main material that Britten reflects upon, dissects, and uses to invent the series of variations. An additional Dowland song, Flow My Tears, also finds itself briefly quoted here and there. Some years after the premiere of Lachrymae by Primrose and Britten in Aldeburgh, he made the piece a concertante-like piece, orchestrating the piano part for strings. This is the version we’ll be doing tonight.

We love the idea of participating in a living tradition that is part of a continuum of invention: when something really old (Dowland’s music) is able to inspire someone closer to our time (Britten) to create something new. Similarly, the Amati viola leading the dialogue in Nicholas Cords’ hands was born in the time of Dowland and has been changed subtly through the years in order to suit modern players (smaller neck, tighter setup/tension), but the form and essence remains the same. And luckily there are a plethora of great modern instrument makers making small personal innovations on what is basically the same forms which the great old Italian makers created.

Composer Lisa Bielawa (b. 1968) has had a long-standing relationship with The Knights, creating a number of pieces and experiences which we hold dear in our memory. These include site-specific and audience immersive experiences such as Tempelhof Broadcast, which included around two hundred performers led by members of The Knights on the tarmac of the former Tempelhof airport; Chance Encounter, performed in Seward Park on the Lower East Side; and Tempelhof Etude, the concert piece that was the basis of the Tempelhof event. Lisa’s Fictional Migrations, like Britten’s Lachrymae, began its life as a chamber piece with piano that has since been orchestrated. Here are her notes on the original flute, horn and piano piece:

Flutist Alex Sopp and hornist Mike Atkinson have, through the work I’ve done with The Knights over the years, been partnering and inspiring my work for over a decade. It was time to honor them, and to join with The Knights in honoring them, by creating a version of Fictional Migrations for string orchestra and the two soloists. It is in effect a double concerto for two instruments that are seldom if ever featured together, but will always belong together in my mind because of these two remarkably gifted and adventurous players.

Commissioned by the Seattle Chamber Music Society in 2017, I composed Fictional Migrations (originally for flute/piccolo, horn, and piano) in observance of the 25th anniversary of Olivier Messiaen’s death. An ornithologist as well as a composer, Messiaen wove actual birdsongs into many of his works. I do so too in my piece, but – given my own ‘indoorsy’ orientation and lack of any authentic attachment to the birds in nature – they are made-up birds, ‘What if?’ birds, created in the spirit of speculative fiction. The six continuous sections of the piece bear subtitles to suggest possible bird embodiments to the players as they go. These birds exist in a world where prisoners fly out of captivity effortlessly, and we all magically transcend death and suffering.

Fictional Migrations invites you to exist in this world, just for a little while, together.

— Lisa Bielawa

A wunderkind of wunderkinds, Felix Mendelssohn (1809-1847) wrote his ebullient string octet at the tender age of 16. As many have noted, the synthesis of formal elements (counterpoint/melody/harmony all fully developed) and depth of expression make an argument for Mendelssohn as most precocious composer of the western classical canon. Part of this was made possible by the unique atmosphere of his household, with philosophers, musicians, artists, writers, mathematicians, scientists constantly coming in and out the door. Many of these were part of the incredible Enlightenment education that Mendelssohn and his gifted sister Fanny received. In particular, one poet, none other than Goethe, became a friend and mentor to the young Mendelssohn and affected him greatly. Fanny was quoted as saying that Felix drew direct inspiration from a stanza of the Walpurgis Night Dream from Goethe’s Faust in the Scherzo movement of the Octet.

“The flight of the clouds and the veil of mist / Are lit from above. / A breeze in the leaves, a wind in the reeds, / And all has vanished.”

In addition, Fanny revealed that, “To me alone he told this idea: the whole piece is to be played staccato and pianissimo, the tremolos coming in now and then, the trills passing away with quickness of lightning; everything new and strange, and at the same time most insinuating and pleasing, one feels so near the world of spirits, carried away in the air, half inclined to snatch up a broomstick and follow the aerial procession. At the end the first violin takes a flight with a feather-like lightness, and – all has vanished.”

There’s something emblematic about this piece for us, which formed a soundtrack to early Knights years spent in a living room. It was about as orchestral as we could get in that room, and the idea of many individual voices contributing to a whole still animates us. The piece represents a duality that we strive to embrace: a chamber music experience can be grand and larger than life, and conversely an orchestra can achieve the intimacy and immediacy of chamber music. To quote Whitman one more time, “these tend inward to me and I tend outward to them…”

— Program Notes by Colin Jacobsen

LISA BIELAWA

Composer-vocalist Lisa Bielawa is a 2009 Rome Prize winner in Musical Composition. She takes inspiration for her work from literary sources and close artistic collaborations. The New York Times describes her music as, “ruminative, pointillistic and harmonically slightly tart.” She is the recipient of the 2017 Music Award from the American Academy of Arts & Letters, and she received a 2018 Los Angeles Area Emmy nomination for her unprecedented, made-for-TV-and-online opera Vireo: The Spiritual Biography of a Witch’s Accuser. In 2019, Bielawa became the inaugural Composer-in-Residence and Chief Curator at the new Philip Glass Institute (PGI) at The New School’s Center of the Performing Arts. The PGI is a landmark partnership between The New School, the Philip Glass Ensemble (PGE), and Bielawa, who began touring as the vocalist with the Ensemble in 1992. In 1997, she co-founded the MATA Festival, which celebrates the work of young composers. Bielawa served as Artistic Director of the San Francisco Girls Chorus from 2013-2018 and recently completed her residency at Grand Central Art Center in Santa Ana, California. She was named a William Randolph Hearst Visiting Artist Fellow at the American Antiquarian Society for 2018. Her discography includes albums on the Tzadik, TROY, Innova, BMOP/sound, Orange Mountain Music and Sono Luminus labels. Bielawa’s music is frequently performed throughout the US and Europe, with recent and upcoming highlights including two world premieres at the 2016 NY PHIL BIENNIAL, Drama/Self Pitypremiered by the Orlando Philharmonic, performances as both composer and soloist at The Kennedy Center’s KC Jukebox series, SHIFT Festival, and with violinist Jennifer Koh at National Sawdust. Bielawa’s music can be found outside the concert hall as well: Chance Encounter was premiered by soprano Susan Narucki and The Knights in Lower Manhattan’s Seward Park; andAirfield Broadcasts, a 60-minute work for hundreds of musicians, was premiered on the tarmac of the former Tempelhof Airport in Berlin in May 2013 and at Crissy Field in San Francisco in October 2013. Bielawa’s Vireo was produced as part of Bielawa’s artist residency at Grand Central Art Center in Santa Ana, California and in partnership with KCETLink and Single Cel. The opera was filmed at locations across the country, and featured over 350 musicians in support of its core cast. Vireo was broadcast online and on TV by KCET. The Los Angeles Times called it an opera, “unlike any you have seen before, in content and in form,” and San Francisco Classical Voice described it as, “poetic and fantastical, visually stunning and relentlessly abstract.” In February 2019, Vireo was released as a two CD + DVD box set on Orange Mountain Music, featuring all of the music and episodes. It is coming to the stage as VIREO LIVE, a hybrid film-opera experience in 2020.

SOLOIST BIOS

KRISTINA NICOLE MILLER is a native of Akron, Ohio, and has lived in NYC since 2004. She has been performing since she was three years old, and attended performing arts schools from sixth grade and beyond, where she received classical and musical theatre training. She has performed in many productions both nationally and internationally. She’d like to thank her amazing boyfriend Chuck for being her sanity, and all of you here today for supporting live performance and making this work possible.

For more than two decades, omnivorous violist NICHOLAS CORDS has been on the front line of a growing constellation of projects as performer, educator, and cultural advocate. Nicholas currently serves as violist, Programming Chair, and Co-Artistic Director of the internationally renowned musical collective Silkroad. Founded by Yo-Yo Ma in 2000 with the belief that listening across cultures leads to a more hopeful world, Silkroad’s mission is explored world-wide through countless learning initiatives and a deep commitment to the exploration of new music and partnerships. Recent highlights include the Grammy Award winning album ‘Sing Me Home’ (Best World Music Album 2017), the Oscar-nominated documentary on Silkroad by Morgan Neville ‘The Music of Strangers,’ and music created for Ken Burns’ recent series ‘The Vietnam War.’ Another key aspect of Nicholas’ busy musical life is as founding member of Brooklyn Rider, an intrepid group which NPR credits with “recreating the 300-year-old form of the string quartet as a vital and creative 21st-century ensemble.” Brooklyn Rider’s singular mission and gripping performance style have resulted in an indelible contribution to the world of the string quartet that has brought in legions of fans across the spectrum. Recent collaborators include Irish fiddler Martin Hayes, Swedish mezzo soprano Anne Sofie von Otter, jazz saxophonist Joshua Redman, Persian kemancheh virtuoso Kayhan Kalhor, banjo legend Béla Fleck, and Mexican jazz singer Magos Herrera. A committed teacher, Nicholas joined the viola and chamber music faculty at New England Conservatory this past fall after teaching at Stony Brook University for the past seven years.

ALEX SOPP is a musician and artist living in Brooklyn. As the flutist of yMusic, The Knights, and NOW Ensemble, the New York Times has praised her playing as “exquisite” and “beautifully nuanced.” Most recently she has been a member of Paul Simon’s band for his Homeward Bound Tour, both singing and playing on stages worldwide. Comfortable in many genres, Alex has commissioned, premiered, and recorded with some of the most exciting composers and song writers of our time. She has appeared as a soloist with the NY Philharmonic and her paintings grace the covers of many records. Alex grew up in St. Croix, Virgin Islands, and trained at the Juilliard School.

MICHAEL P. ATKINSON is a NYC-based hornist, arranger/orchestrator and composer. In addition to performing as Solo hornist of The Knights, his credits as a performer include the New York Philharmonic, International Contemporary Ensemble, St. Paul Chamber Orchestra, American Symphony Orchestra, Orchestra of St. Luke’s, and Chamber Music Society of Lincoln Center. His orchestrations and arrangements have been performed in venues around the world by a wide range of ensembles including The Knights, A Far Cry, NYC Ballet, Orlando Philharmonic, Australian Chamber Orchestra, Vienna Opera Ballet, Dutch National Ballet, APM’s Live from Here with Chris Thile, and folk/Americana trio I’m With Her. In 2019, Michael’s piece “Ligeti Split” (after G. Ligeti’s Hungarian Rock) was premiered by The Knights in NYC at Zankel Hall.

THE KNIGHTS

The Grammy-nominated Knights are an orchestral collective, flexible in size and repertory, dedicated to transforming the concert experience. Engaging listeners and defying boundaries with programs that showcase the players’ roots in the classical tradition and passion for artistic discovery, The Knights have “become one of Brooklyn’s sterling cultural products… known far beyond the borough for their relaxed virtuosity and expansive repertory” (New Yorker).

The Knights have had an exciting 2017-18 season, a highlight of which was a U.S. tour with genre-defying Israeli mandolinist Avi Avital and Syrian clarinetist and composer Kinan Azmeh. Tour repertoire came from around the world, with arrangements and transcriptions by the artists themselves, and features the world premiere of Azmeh’s Triple Concerto for Clarinet, Mandolin, Violin and Orchestra. Thanks in part to the generous support of the Mellon Foundation, The Knights’ will complete their second Home Season in Brooklyn, in partnership with the downtown venue BRIC, presenting family concerts, evening performances, and a characteristically wide-ranging roster of guest artists. Programs include a collaboration with Puerto-Rican composer Angelica Negrón on her drag opera, a night of German lieder with Katja Herbers, as well as an exploration of the pervasive influence of Eastern European folk music. The Knights’ 2017 summer season encompassed a world premiere by composer Judd Greenstein and an East Coast premiere by Vijay Iyer; their tenth consecutive appearance in Central Park’s Naumburg Orchestral Concerts series; their fourth year at Tanglewood, a performance at the Ravinia Festival with mezzo-soprano Susan Graham; and a collaboration with choreographer John Heginbotham at the Jacob’s Pillow Dance Festival.

The 2016-17 season saw the release of the celestial-themed album Azul on Warner Classics with longtime collaborator Yo-Yo Ma; an EP release with Gabriel Kahane of his song cycle Crane Palimpsest; a debut at Washington DC’s Kennedy Center as part of the inaugural “SHIFT: A Festival of American Orchestras;” and the New York premiere of Sarah Kirkland Snider’s song cycle Unremembered, which The Knights also performed at Tennessee’s Big Ears Music Festival. They rounded out the season with a European tour, which took them to the Easter Festival at Aix-en-Provence for six performances with celebrated guest artists pianists Jean-Yves Thibaudet and Bertrand Chamayou, and violinist Renaud Capuçon; along with three concerts across Germany, including one at the new Elbphilharmonie in Hamburg where the ensemble’s performance was lauded as one of the best in the new hall (Hamburg Abendetter).

Counted among the highlights from recent seasons are: a performance with Yo-Yo Ma at Caramoor; the recording of Prokofiev’s Second Violin Concerto on master violinist Gil Shaham’s Grammy-nominated 2016 release, 1930’s Violin Concertos, Vol. 2, as well as a North American tour with Shaham; residencies at Dartmouth, Penn State and Washington DC’s Dumbarton Oaks; and a performance in the NY PHIL BIENNIAL along with the San Francisco Girls Chorus (led by composer Lisa Bielawa) and the Brooklyn Youth Chorus, which featured world premieres by Rome Prize-winner Bielawa, Pulitzer Prize-winner Aaron Jay Kernis, and Knights violinist and co-founder Colin Jacobsen. The ensemble made its Carnegie Hall debut in the New York premiere of the Steven Stucky/Jeremy Denk opera The Classical Style, and has toured the U.S. with banjo virtuoso Béla Fleck, and Europe with soprano Dawn Upshaw. In recent years The Knights have also collaborated with Itzhak Perlman, the Mark Morris Dance Group, Joshua Redman, Silk Road virtuoso Siamak Aghaei, and pipa virtuoso Wu Man. Recordings include 2015’s “instinctive and appealing” (The Times, UK) the ground beneath our feet on Warner Classics, featuring the ensemble’s first original group composition; an all-Beethoven disc on Sony Classical (their third project with the label); and 2012’s “smartly programmed” (NPR) A Second of Silence for Ancalagon.

The Knights evolved from late-night chamber music reading parties with friends at the home of violinist Colin Jacobsen and cellist Eric Jacobsen. The Jacobsen brothers, who are also founding members of the string quartet Brooklyn Rider, serve as artistic directors of The Knights, with Eric Jacobsen as conductor. In December 2012, the Jacobsens were selected from among the nation’s top visual, performing, media, and literary artists to receive a prestigious United States Artists Fellowship.

The Knights’ roster boasts remarkably diverse talents, including composers, arrangers, singer-songwriters, and improvisers, who bring a range of cultural influences to the group, from jazz and klezmer to pop and indie rock music. The unique camaraderie within the group retains the intimacy and spontaneity of chamber music in performance.

Colin Jacobsen, Artistic Director

As the Washington Post observes, violinist and composer Colin Jacobsen is “one of the most interesting figures on the classical music scene.” A founding member of two game-changing, audience-expanding ensembles – the string quartet Brooklyn Rider and orchestra The Knights – he is also a touring member of Yo-Yo Ma’s venerated Silk Road Project and an Avery Fisher Career Grant-winning violinist. Jacobsen’s work as a composer developed as a natural outgrowth of his chamber and orchestral collaborations. Jointly inspired by encounters with leading exponents of non-western traditions and by his own classical heritage, his most recent compositions for Brooklyn Rider include Three Miniatures – “vivacious, deftly drawn sketches” (New York Times) – which were written for the reopening of the Metropolitan Museum of Art’s Islamic art galleries. Jacobsen collaborated with Iran’s Siamak Aghaei to write a Persian folk-inflected composition, Ascending Bird, which he performed as soloist with the YouTube Symphony Orchestra at the Sydney Opera House, in a concert that was streamed live and seen by millions of viewers worldwide. His work for dance and theater includes Chalk and Soot, a collaboration with Dance Heginbotham, and music for Compagnia de’ Colombari’s theatrical production of Walt Whitman’s Song of Myself.

Eric Jacobsen, Artistic Director

Hailed by the New York Times as “an interpretive dynamo,” conductor and cellist Eric Jacobsen has built a reputation for engaging audiences with innovative and collaborative projects. Jacobsen is the founder and Artistic Director of The Knights and a former member of the genre-defying string quartet Brooklyn Rider. As conductor of The Knights, Jacobsen has led the “consistently inventive, infectiously engaged indie ensemble” (New York Times) at New York venues ranging from Carnegie Hall to Central Park, and at renowned international halls such as the Vienna Musikverein, Cologne Philharmonie and the Elbphilharmonie. In 2017-18, Jacobsen is set to embark on his third season as Music Director of the Orlando Philharmonic. Also in demand as a guest conductor, Jacobsen has recently led the Camerata Bern, the Detroit Symphony, the Alabama Symphony, ProMusica Chamber Orchestra, Deutsche Philharmonie Merck, and Yo-Yo Ma’s Silk Road Ensemble.

TONIGHT’S CONCERT IS MOVED

DUE TO THE VERY POOR WEATHER FORECAST AND POSSIBLY UNSAFE CONDITIONS OUTDOORS IN CENTRAL PARK – WE ARE RELOCATING. PLEASE SEE:

Dear Friends,

The show must go on! And with the incredible generosity of our friends at St. Paul’s Chapel/Trinity Wall Street and Naumburg Orchestral Concerts, The Knights are delighted to have an alternate, indoor venue to perform in tonight.

Tonight!

St. Paul’s hosts The Knights, presented by Naumburg Orchestral Concerts

7pm doors / 7:30pm performance

St. Paul’s Chapel

209 Broadway, New York, NY

The Chapel is located on the North-west side of Broadway at Fulton Street. It is across the street from the Fulton Street subway stop on the 4,5 and the Park Place stop for the 2,3.

If you can’t join us in person, please watch and hear us live from the Trinity webcast: www.trinitywallstreet.org

We look forward to sharing our music with you!

JULY 17, 2018 @ 7:30 PM

The Knights

Colin & Eric Jacobsen, Artistic Directors,

Eric Jacobsen, conductor

Anna Clyne, (1980), Within Her Arms, (2008-09)

Komitas, (1869-1935) Armenian Folk Songs arranged as a Suite to include :

Echmiadzin Dance

Stalk Along!

Song of the Little Partridge

Clouds

Haymaker’s Song

Festive Song

Intermission

Leoš Janáček, (1854-1928), Idyll for String Orchestra, (1878)

I. Andante

II. Allegro

III. Moderato

IV. Allegro

V. Adagio

VI. Scherzo

VII. Moderato

Johannes Brahms, (1883-1897), Hungarian Dances (1869), (arr. Paul Brantley)

No. 17, Andantino

No. 11, Poco Andante

No. 19, Allegretto

No. 5, Allegro

**The performance of The Knights has been made possible by a generous grant from the MacDonald-Peterson Foundation.**

WQXR HOST: Annie Bergen

PROGRAM NOTES

WELCOME/INTRODUCTION

“Time past and time future… Point to one end, which is always present.” – T.S.Eliot

It’s hard to believe this is The Knights’ 10th anniversary year playing here at the Naumburg Orchestral Concerts, one of our favorite musical homes! Anniversaries are a chance to reflect, to take stock of the passage of time. We quote these lines from T.S. Eliot’s masterpiece, Four Quartets, partly because we recently were obsessed with the text and immersed in a dance theater piece based on it, and partly because it captures a very specific feeling we all get playing at the Naumburg Bandshell year after year. In the middle of the middle of the world that is Central Park, we can all share the sense that, for a moment, we literally can touch the pulsing heart of New York’s energy source while also tuning out the chaos. Sometimes clouds threaten, sometimes the sky opens up before (or during) a concert, causing us to delay (or play for folks seeking cover under the Bethesda Terrace). But mostly the weather cooperates (through Christopher London’s force of will!).

Ten years ago, The Knights came out on stage as a new orchestra, who most in the audience had not yet encountered. Now, we feel a long-standing bond with the many intrepid music lovers who year after year brave the elements and encourage us to give our all, no matter the heat or wind. The combination of those steadfast fans and the random passerby who gets drawn in, some of whom may not have heard much live orchestral music, creates a magical connection which we love.

The Knights often talk about trying to bottle the energy that we get playing at the Naumburg Bandshell and bringing it with us wherever we go, but ultimately “all is always now” and the sense of the moment is palpable here in a way that isn’t easily recreated. Thank you to the Naumburg Orchestral Concerts and to you the music lover for keeping this all alive. Here’s to time future and the next ten years!

— Colin and Eric Jacobsen, The Knights

ANNA CLYNE: WITHIN HER ARMS

Within Her Arms is music for my mother, with all my love.

Earth will keep you tight within her arms dear one—

So that tomorrow you will be transformed into flowers—

This flower smiling quietly in this morning field—

This morning you will weep no more dear one—

For we have gone through too deep a night.

This morning, yes, this morning, I kneel down on the green grass—

And I notice your presence.

Flowers, that speak to me in silence.

The message of love and understanding has indeed come.

—Thich Nhat Hanh

— Anna Clyne

KOMITAS: ARMENIAN FOLK SONGS ARRANGED AS A SUITE

Komitas Vardapet (born Soghomon Soghomonyan) is a deeply cherished figure by the Armenian people worldwide. The Armenian priest, composer, musicologist, baritone, and educator is widely credited with preserving the folk melodies of the southern Caucasus region as well as creating a new national musical voice. Born in 1869 in Anatolia, his musical gifts were quickly recognized in his seminary studies as a youth. When he was ordained a priest, his musical activities included organizing choirs, researching the history of Armenian sacred music, and working with popular folk melodies and instruments. Becoming increasingly curious about European music, he decided to continue his musical studies in Berlin at the conservatory of Professor Richard Schmidt. He returned to Armenia in 1899 and spent much of the next decade collecting thousands of melodies of Armenian, Kurdish, Persian, and Turkish origin, often creating choral arrangements and compositions based on these melodies. He also made numerous trips to Europe, introducing audiences to Armenian music. Komitas never recovered from the deeply tragic events of 1915-1917, in which hundreds of thousands of Armenians were displaced and lost their lives. He spent the remaining twenty years of his life in a Paris sanatorium. Tonight’s selection of Armenian Folk Songs were collected by Komitas and later arranged by Sergey Aslamazian, the founding cellist of the Komitas Quartet (which happens to be the world’s oldest string quartet in continual existence, 1924-present).

— Nicholas Cords

LEOŠ JANÁČEK: IDYLL FOR STRING ORCHESTRA

Czech composer Leoš Janáček (1854-1928) completed the Idyll for String Orchestra in August 1878. The work received its premiere on December 15, 1878 in Brno under the direction of Janáček, with friend and contemporary influence Antonin Dvorák in the audience. A great admirer and champion of Dvorák, Janáček borrowed heavily from Moravian and Slavic folk music in this early orchestral work written in the Romantic style. From a young age, Janáček had great interest in the East-European traditional music of his homeland and developed an individual style which incorporated elements of Czech speech, songs, and dances as well as the expanded use of modality.

Idyll for String Orchestra consists of seven elegant movements of distinct character. The opening Andante has a melancholic feel to the melody while the second movement Allegro lilts in triple-time. The third movement’s Moderato solemnly states sorrow. An energetically explosive Allegro claims the middle movement. The fifth movement’s Adagio is marked by a sweetly tragic tone as melodic lines weave apart and together. The sixth movement is a lively and imitative Scherzo and the closing Moderato expresses finality in the gravity of its contrapuntal writing.

— Lily Chaw

JOHANNES BRAHMS ARR. PAUL BRANTLEY: FOUR HUNGARIAN DANCES FOR 11 INSTRUMENTS Just a few weeks after giving the premiere of my cello concertino, The Royal Revolver, Eric Jacobsen called asking if I might arrange some Brahms Hungarian Dances for The Knights. I blinked and said yes. Eric had three of the dances in mind and 11 instruments available – including bass clarinet! I suggested adding another dance as the third of four – which might create a set of satisfying and Brahmsian key relationships of falling thirds. I grew up hearing, playing, and loving all the traditional orchestrations (by Brahms, Dvorak, and others) but went back to the original piano four-hands versions and worked from there. And although I was given free reign to “cover” these pieces to whatever extent I liked, I was immediately reminded of how integral and perfectly composed they are. And so the first three are virtually note-for-note faithful to the originals while opening up the color spectrum a bit. Whereas with the famous last one, I had a bit more fun and opened up just about everything.

— Paul Brantley

ADDITIONAL INFORMATION

The Knights

The Grammy-nominated Knights are an orchestral collective, flexible in size and repertory, dedicated to transforming the concert experience. Engaging listeners and defying boundaries with programs that showcase the players’ roots in the classical tradition and passion for artistic discovery, The Knights have “become one of Brooklyn’s sterling cultural products… known far beyond the borough for their relaxed virtuosity and expansive repertory” (New Yorker).

The Knights have had an exciting 2017-18 season, a highlight of which was a U.S. tour with genre-defying Israeli mandolinist Avi Avital and Syrian clarinetist and composer Kinan Azmeh. Tour repertoire came from around the world, with arrangements and transcriptions by the artists themselves, and features the world premiere of Azmeh’s Triple Concerto for Clarinet, Mandolin, Violin and Orchestra. Thanks in part to the generous support of the Mellon Foundation, The Knights’ will complete their second Home Season in Brooklyn, in partnership with the downtown venue BRIC, presenting family concerts, evening performances, and a characteristically wide-ranging roster of guest artists. Programs include a collaboration with Puerto-Rican composer Angelica Negrón on her drag opera, a night of German lieder with Katja Herbers, as well as an exploration of the pervasive influence of Eastern European folk music. The Knights’ 2017 summer season encompassed a world premiere by composer Judd Greenstein and an East Coast premiere by Vijay Iyer; their tenth consecutive appearance in Central Park’s Naumburg Orchestral Concerts series; their fourth year at Tanglewood, a performance at the Ravinia Festival with mezzo-soprano Susan Graham; and a collaboration with choreographer John Heginbotham at the Jacob’s Pillow Dance Festival.

The 2016-17 season saw the release of the celestial-themed album Azul on Warner Classics with longtime collaborator Yo-Yo Ma; an EP release with Gabriel Kahane of his song cycle Crane Palimpsest; a debut at Washington DC’s Kennedy Center as part of the inaugural “SHIFT: A Festival of American Orchestras;” and the New York premiere of Sarah Kirkland Snider’s song cycle Unremembered, which The Knights also performed at Tennessee’s Big Ears Music Festival. They rounded out the season with a European tour, which took them to the Easter Festival at Aix-en-Provence for six performances with celebrated guest artists pianists Jean-Yves Thibaudet and Bertrand Chamayou, and violinist Renaud Capuçon; along with three concerts across Germany, including one at the new Elbphilharmonie in Hamburg where the ensemble’s performance was lauded as one of the best in the new hall (Hamburg Abendetter).

Counted among the highlights from recent seasons are: a performance with Yo-Yo Ma at Caramoor; the recording of Prokofiev’s Second Violin Concerto on master violinist Gil Shaham’s Grammy-nominated 2016 release, 1930’s Violin Concertos, Vol. 2, as well as a North American tour with Shaham; residencies at Dartmouth, Penn State and Washington DC’s Dumbarton Oaks; and a performance in the NY PHIL BIENNIAL along with the San Francisco Girls Chorus (led by composer Lisa Bielawa) and the Brooklyn Youth Chorus, which featured world premieres by Rome Prize-winner Bielawa, Pulitzer Prize-winner Aaron Jay Kernis, and Knights violinist and co-founder Colin Jacobsen. The ensemble made its Carnegie Hall debut in the New York premiere of the Steven Stucky/Jeremy Denk opera The Classical Style, and has toured the U.S. with banjo virtuoso Béla Fleck, and Europe with soprano Dawn Upshaw. In recent years The Knights have also collaborated with Itzhak Perlman, the Mark Morris Dance Group, Joshua Redman, Silk Road virtuoso Siamak Aghaei, and pipa virtuoso Wu Man. Recordings include 2015’s “instinctive and appealing” (The Times, UK) the ground beneath our feet on Warner Classics, featuring the ensemble’s first original group composition; an all-Beethoven disc on Sony Classical (their third project with the label); and 2012’s “smartly programmed” (NPR) A Second of Silence for Ancalagon.

The Knights evolved from late-night chamber music reading parties with friends at the home of violinist Colin Jacobsen and cellist Eric Jacobsen. The Jacobsen brothers, who are also founding members of the string quartet Brooklyn Rider, serve as artistic directors of The Knights, with Eric Jacobsen as conductor. In December 2012, the Jacobsens were selected from among the nation’s top visual, performing, media, and literary artists to receive a prestigious United States Artists Fellowship.

The Knights’ roster boasts remarkably diverse talents, including composers, arrangers, singer-songwriters, and improvisers, who bring a range of cultural influences to the group, from jazz and klezmer to pop and indie rock music. The unique camaraderie within the group retains the intimacy and spontaneity of chamber music in performance.

Colin Jacobsen, Artistic Director

As the Washington Post observes, violinist and composer Colin Jacobsen is “one of the most interesting figures on the classical music scene.” A founding member of two game-changing, audience-expanding ensembles – the string quartet Brooklyn Rider and orchestra The Knights – he is also a touring member of Yo-Yo Ma’s venerated Silk Road Project and an Avery Fisher Career Grant-winning violinist. Jacobsen’s work as a composer developed as a natural outgrowth of his chamber and orchestral collaborations. Jointly inspired by encounters with leading exponents of non-western traditions and by his own classical heritage, his most recent compositions for Brooklyn Rider include Three Miniatures – “vivacious, deftly drawn sketches” (New York Times) – which were written for the reopening of the Metropolitan Museum of Art’s Islamic art galleries. Jacobsen collaborated with Iran’s Siamak Aghaei to write a Persian folk-inflected composition, Ascending Bird, which he performed as soloist with the YouTube Symphony Orchestra at the Sydney Opera House, in a concert that was streamed live and seen by millions of viewers worldwide. His work for dance and theater includes Chalk and Soot, a collaboration with Dance Heginbotham, and music for Compagnia de’ Colombari’s theatrical production of Walt Whitman’s Song of Myself.

Eric Jacobsen, Artistic Director

Hailed by the New York Times as “an interpretive dynamo,” conductor and cellist Eric Jacobsen has built a reputation for engaging audiences with innovative and collaborative projects. Jacobsen is the founder and Artistic Director of The Knights and a former member of the genre-defying string quartet Brooklyn Rider. As conductor of The Knights, Jacobsen has led the “consistently inventive, infectiously engaged indie ensemble” (New York Times) at New York venues ranging from Carnegie Hall to Central Park, and at renowned international halls such as the Vienna Musikverein, Cologne Philharmonie and the Elbphilharmonie. In 2017-18, Jacobsen is set to embark on his third season as Music Director of the Orlando Philharmonic. Also in demand as a guest conductor, Jacobsen has recently led the Camerata Bern, the Detroit Symphony, the Alabama Symphony, ProMusica Chamber Orchestra, Deutsche Philharmonie Merck, and Yo-Yo Ma’s Silk Road Ensemble.

JUNE 26, 2018 @ 7:30 PM

Orpheus Chamber Orchestra

Felix Mendelssohn (1809-1847), A Midsummer Night’s Dream, Op. 21/61, (1826-43), (arr. Andreas Tarkmann)

Ouvertüre

Scherzo

Elfenmarsch

Elfenlied

Intermezzo

Notturno

Hochzeitsmarsch

Trauermarsch

Tanz der Rüpel (Clowns)

Finale

Intermission

Othmar Schoeck (1886-1957) Summer Night, Pastoral Intermezzo for Strings, Op. 58, (1945)

Ludwig Van Beethoven (1770-1827) String Quartet in F Minor, Op. 95 “Serioso” (1810), (arr. Gustav Mahler)

1. Allegro con brio

2. Allegretto ma non troppo

3. Allegro assai vivace ma serioso

4. Larghetto espressivo

**The New York premiere of Schoeck’s Sommernacht, (Summer Night), an astonishingly beautiful piece. See below.**

WQXR HOST: Jeff Spurgeon

ADDITIONAL INFORMATION

Orpheus Chamber Orchestra

A standard-bearer of innovation and artistic excellence, Orpheus Chamber Orchestra is one of the world’s foremost chamber orchestras. Julian Fifer and a group of like-minded young musicians determined to combine the intimacy and warmth of a chamber ensemble to the richness of an orchestra founded Orpheus in 1972. With 71 albums, including the Grammy Award-winning Shadow Dances: Stravinsky Miniatures, and 42 commissioned and premiered original works, Orpheus rotates musical leadership roles for each work and strives to perform diverse repertoire through collaboration and open dialogue.

Performing without a conductor, Orpheus presents an annual series at Carnegie Hall and tours extensively to major national and international venues. For the 2017-18 Season at Carnegie Hall Orpheus welcomes back Grammy-winning pianist André Watts for Mozart’s Piano Concerto No. 9. The Norwegian cellist Truls Mørk makes his long-awaited Orpheus debut with Shostakovich’s First Cello Concerto, a fascinating product of Soviet Russia that embeds a core of yearning and struggle within a facade of whimsy and humor. In February, Orpheus welcomes Norway’s young trumpet sensation Tine Thing Helseth, featuring concertos by Vivaldi and Albinoni, as well as Mozart’s popular Symphony No. 40. The season closes with Georgian violinist Lisa Batiashvili performing Prokofiev’s Second Violin Concerto, a powerful yet vulnerable work created while the composer teetered between his life of exile in Europe and a return to his transformed homeland.

Orpheus has trademarked its signature mode of operation, the Orpheus Process™, an original method that places democracy at the center of artistic execution. It has been the focus of studies at Harvard and of leadership seminars at Morgan Stanley and Memorial Sloan-Kettering Hospital, among others. Two unique education and engagement programs, Access Orpheus and Orpheus Institute, aim to bring this approach to students of all ages.

Access Orpheus, Orpheus’ educational initiative, shares the orchestra’s collaborative music-making process with public school students from all five boroughs in New York City. Because of declining resources for arts education, many public schools do not have access to fulltime arts teachers to provide music instruction and exposure to art and culture. Access Orpheus helps to bridge this gap with in-class visits, attendance at working rehearsals, and free tickets for performances at Carnegie Hall.

Orpheus Institute brings the Orpheus Process™ and the orchestra’s musicians to select colleges, universities, conservatories, and businesses to work directly with leaders of tomorrow. Corporate employees and students in all fields of study learn from Orpheus’ creative process and in areas of collaboration, communication, creative problem solving, and shared leadership. In the coming seasons, Orpheus will continue to share its leadership methods and performance practices as the ensemble provides audiences with the highest level of musicianship and programming.

Sommernacht

The musical work Sommernacht, is also the title of a poem by Gottfried Keller. The composer, Schoeck, took a section of this poem and summarized it in his own words, adding that to the score.

Schoeck doesn’t specify precisely that this action needs to be shared with the audience. However, at the very least it is thought appropriate to make the listener aware of it, and Alexander Scheirle has provided the German text and added the English translation below.

“In sternheller Sommernacht ernten junge Landleute von dankbaren Empfindungen bewegt, das reife Kornfeld einer Waise oder Witwe, welche für diese Arbeitkeine Hilfe weiss. Sichelrauschen, Jauchzen und Harmonikaklang verraten das fröhliche Treiben des alten, schönen Brauches, bis Morgenhähne, erwachende Vogelstimmen und Frühglocken die wackern, heimlichen Helfer zur eigenen, schweren Arbeit rufen.”

In a bright summer night, young peasants reap, moved by grateful sensations, the ripe grain of an orphan or widow, who knows no help for this work. Crescent noises, cheers and harmonica sound betray the cheerful activity of the old, beautiful custom, until morning cocks, awakening bird calls and early bells call the brave, secret helpers to their own, heavy work.

PROGRAM NOTES

A Midsummer Night’s Dream, Opp. 21 and 61 [1826-43]

FELIX MENDELSSOHN

Born February 3, 1809 in Hamburg, Germany

Died November 4, 1847 in Leipzig, Germany

In the prosperous Mendelssohn household, support for young Felix went beyond just nurturing his musical ambitions. The family socialized with the likes of Goethe and Hegel, and the bookshelves were stacked with the world’s finest literature, including a new German translation of Shakespeare’s plays published in 1825. At age 17, Mendelssohn used A Midsummer Night’s Dream as inspiration for a concert overture, making reference in the music to the comedy’s magical elements and bawdy humor.

Mendelssohn returned to the same inspiration seventeen years later when he contributed incidental music for a new production of that Shakespeare comedy in Potsdam. The selections included the earlier Overture (published as Opus 21) as well as thirteen new sections using chorus, vocal soloists and orchestra (published separately as Opus 61). The movements for orchestra alone—the Scherzo, Intermezzo, Nocturne and Wedding March—originally served as entr’actes interspersed among the plays five acts. They have all joined the Overture as concert hall staples, while the Wedding March has earned a special recognition as the recessional of choice in many wedding ceremonies.

This suite for chamber orchestra, created in 2014 by the German composer Andreas Tarkmann, features those beloved orchestral interludes, as well as instrumental versions of some of the lesser-known excerpts. The Elfenmarsch (March of the Fairies) and Elfenlied (Song of the Fairies) come from Act II, when Titania, the fairy queen, enters with her retinue and bids them to sing a fanciful incantation.

The Funeral March accompanies the play within a play in Act V, when the bumbling acting troupe presents the tragedy Pyramus and Thisbe. The Dance of the Clowns returns to the braying, donkey-like theme first introduced in the Overture as a nod to one of those hapless actors, Nick Bottom, whom the mischievous Puck transforms into an ass. The Finale revives more music from the Overture, including the mystical opening chords and the scampering violin motives.

Sommernacht, Op. 58 [1945]

OTHMAR SCHOECK

Born September 1, 1886 in Brunnen, Switzerland

Died March 8, 1957 in Zürich, Switzerland

The Swiss composer Othmar Schoeck formed his worldview in a picturesque village on Lake Lucerne, where his father was a landscape painter. After his own brief stint in art school, Schoeck studied music in Zürich, and he matured into a respected composer of songs and operas. He flirted with some of the avant-garde developments of the twenties and thirties, and his music made some inroads into Germany, but ultimately he retreated to a modest career in Switzerland and a musical language rooted in the melodious tonality of his early years, especially after a heart attack in 1944.

When composing this “pastoral intermezzo” for strings in 1945, Schoeck took his title and inspiration from the famous poem Sommernacht (Summer Night) by the Swiss poet Gottfried Keller (1819-1890). The poem describes a custom in which young men spend their night working by starlight, graciously harvesting the grain for widows and orphans, until the new day dawns and they head off to their own labors. Schoeck’s tone poem evokes the languid calm of the summer night, the gallant efforts of the men, and the merriment of their singing and dancing.

String Quartet in F Minor, Op. 95 (“Serioso”) [1810] Arranged for string orchestra by Gustav Mahler

LUDWIG VAN BEETHOVEN

Born December 1770 in Bonn, Germany

Died March 26, 1827 in Vienna, Austria

When the young Ludwig van Beethoven published his first six string quartets in 1800, he was still working under the long shadow of Joseph Haydn—known as the “Father of the String Quartet” for good reason. After those early years spent mastering the established style, Beethoven attained a new level of refinement and independence with the works from his “middle period,” including Opus 95 from 1810.

The hallmark of Beethoven’s mature style is the extent to which musical ideas compress down to the bare essentials that can be developed, manipulated and examined from all angles. Nowhere is this process taken further than in the work that goes by the nickname “Serioso,” Italian for “serious.” The opening Allegro con brio movement distills a muscular sonata form into four minutes of uncompromising intensity, all growing out of the first unison exhortation.

The arrangement for string orchestra heard here, created by Gustav Mahler during his first season as conductor of the Vienna Philharmonic in 1899, amplifies and exaggerates the sharp contrasts of the quartet, an endeavor that Mahler knew would be a magnet for criticism, given Beethoven’s godlike stature in the German-speaking world. He even felt the need to explain his rationale in an open letter to the local newspaper. “In a large space the four voices are lost and do not speak to the listener with the power that the composer wanted to give them,” Mahler wrote. “I give them this power by strengthening the voices. I unravel the expansion that is dormant in the voices