A Package from HomeGala Concert to Benefit Lone Combat Soldiers and Respite Care for the severely wounded

Thursday, 11.11.2010 at 20:00 – Henry Crown Hall, Jerusalem Theatre

Jerusalem Symphony Orchestra, IBAAnita Kamien | conductorRoger Kamien | piano

Felix Mendelssohn (1801-1847) Overture to A Midsummer Night's Dream, Op. 21

Robert Schumann (1810-1856) Concerto for Piano and Orchestra in A Minor, Op. 54 Allegro affettuoso Intermezzo: Andante grazioso Allegro vivace

Intermission

Johannes Brahms (1833-1897) Symphony No. 1 in C Minor, Op. 68 Allegro Andante sostenuto Un poco allegretto e grazioso Adagio; Allegro non troppo, ma con brio

Articles | Prof. Roger KamienProgramme editing | Tali Latowicki Design | Sharon Asis

Felix Mendelssohn (1809-1847)Overture to A Midsummer Night's Dream Op.21 Romantic composers felt an artistic kinship with Shakespeare because of his passionate poetry, dramatic contrasts, and profound knowledge of the human heart. Shakespeare's plays inspired some of the finest nineteenth-century compositions including Mendelssohn's Overture (1826) and Incidental Music (1842) to A Midsummer Night's

Dream, Berlioz's "dramatic symphony" Romeo and Juliet (1839), Tchaikovsky's Romeo and Juliet, Overture-Fantasy (1869), and Verdi's Macbeth (1847), Otello (1887), and Falstaff (1893). Mendelssohn began his life-long fascination with Shakespeare at age twelve, reading the plays in a German translation. The Overture to A Midsummer Night's Dream, composed when Mendelssohn was seventeen, is a masterpiece of startling originality. It was first performed by a private orchestra in the Mendelssohn home within a series of Sunday musicales attended by the intellectual and artistic elite of Berlin. The Overture, in one movement, contains four interconnected sections: an exposition of the main musical ideas, a development of these ideas, a recapitulation, and a concluding part, or coda. The contrasting musical ideas of the Overture parallel the diverse characters in Shakespeare's play: the elves, lovers, the Athenian court, and the tradesmen, including Bottom the weaver. However we can enjoy the Overture as pure music, without knowing the play. The exposition begins with four soft wind chords that immediately evoke a dreamlike atmosphere. Then high staccato running notes in minor in the violins, pianissimo, suggest the elves of Oberon and Titania's fairy kingdom. A sudden fortissimo for full orchestra introduces a triumphant downward-scale theme in the violins in major, that represents the court of Duke Theseus. Clarinets introduce a gentle violin melody that suggests the pairs of lovers Hermia and Lysander, Helena and Demetrius. A crescendo leads to heavy low repeated notes and high downward melodic leaps that represent the rustic tradesmen and the "hee-haw" of Bottom, who has been transformed into an ass. The exposition closes with a fanfare by horns and trumpets and the triumphant downward scale theme that symbolize the royal hunting party.A sudden return to the very soft elf music signals the arrival of the development section, which evokes the nocturnal scenes in the forest. Soon the elf music is joined by woodwinds and echoing horn calls of the hunt. At the end of the development, a soft low violin melody in minor symbolizes the lovers falling asleep. The recapitulation brings a varied return of the music heard in the exposition: the same four high wind chords that opened the Overture, followed by themes associated with the elves, royal court, lovers, tradesmen, braying of the ass, and hunting party. The coda begins with very soft elf music, continues with a lyrical slow transformation of the court theme, and is rounded off by a final return of the opening four sustained wind chords evoking the world of magic and dreams.

Robert Schumann (1810-1856) Concerto for Piano and Orchestra in A Minor, Op. 54 Schumann's only piano concerto is closely associated with his wife, Clara Wieck Schumann, one of the leading concert pianists of the nineteenth century. While studying piano with Friedrich Wieck, a well known pedagogue, Schumann became acquainted with Clara, his teacher's

daughter and prize pupil. Schumann was eighteen when he met Clara, then a nine-year-old prodigy who was already a well- known pianist. The two were engaged when Clara was seventeen, despite bitter opposition by her father who did not want his daughter's brilliant career to be hampered by marriage to an impoverished musician. After bitter court battles against Wieck, Robert and Clara married on September 12, 1840, one day before her twenty-first birthday. In May 1841 Schumann composed a one-movement Fantasy for Piano and Orchestra and on August 13 Clara, eight and a half months pregnant with their first child, rehearsed the Fantasy with the Leipzig Gewandhaus Orchestra. She later wrote in her diary: " I played the Fantasy in A minor… and found it magnificent... it can only give the greatest delight to the listener. The piano and orchestra are interwoven with utmost delicacy - the one is unthinkable without the other. " Unable to find a publisher for the one-movement Fantasy, Schumann transformed it into a concerto by adding a slow movement and Finale in May, 1845. In December of that year, Clara Schumann premiered the concerto with the Dresden orchestra and later was instrumental to the work's success, appearing herself in 100 of the 190 performances of the concerto in Europe between 1845 and 1900.

First Movement: Allegro affe�uoso The rapid first movement, in minor, opens with a dramatic cascade of rapid piano chords which introduce the lyrical main theme in minor, first played by woodwinds and French horns, and then repeated by the piano. Schumann encoded Clara's name in the first four notes of the theme: C-B-A-A. His affectionate diminutive for Clara was "Chiara", in which the letters C-H (B natural in German music notation)- A - A correspond to musical notes. Ideas from the main theme, in different transformations, permeate the entire movement. We hear variations of the theme, in major instead of minor, introduced by the piano solo, then played by the clarinet with piano accompaniment. A climactic passage for orchestra alone leads to a slow, intimate section in which the clarinet and piano take turns in presenting ideas from the main theme, one of many passages in the concerto that sound like chamber music. The contemplative mood is suddenly shattered when the fast tempo abruptly returns with a dramatic confrontation between piano octaves

and the orchestra. Then the flute and piano develop the Clara motive (C-B-A-A) in a faster rhythm. A gradual slowing of tempo leads to a recapitulation of the opening section of the movement which is followed by an extended cadenza for unaccompanied piano that is written in Schumann's score. The movement concludes brilliantly with a march-like transformation of the Clara motive played by the woodwinds with running figures and arpeggios in the piano.

Second Movement: Intermezzo: Andante grazioso The brief and lyrical Intermezzo, in major, is an intimate conversation between piano and orchestra. It is composed of three sections (A B A'), The outer sections (A and A') both begin with a soft interchange between piano and strings. The middle section (B) introduces an ardent melody played by the cellos to which the piano responds expressively. A varied return (A') of the opening section is followed by a dreamlike transition to the finale in which woodwinds softly recall the Clara motive, first in major and then in minor. The exuberant and extended Third Movement follows without a pause.

Third Movement: Allegro vivace The finale highlights a joyous and dance-like main theme in major. Running notes in the piano lead to the soft, march-like second theme, which is heard three times in succession: it is introduced by the strings, staccato, then played by the piano, legato, and yet again by the orchestra with a rapid, staccato piano accompaniment. High trills in the piano lead to a loud orchestral tutti followed by a passage in which the strings softly develop the main theme in the manner of a fugue. In the coda, the piano introduces a new, waltz-like theme which leads to a brilliant conclusion to this extraordinary concerto.

Johannes Brahms (1833-97)Symphony No. 1 in C Minor, Op. 68 In 1862, when he was twenty-nine, Brahms sent his friend Clara Schumann the musical score of an Allegro which eventually became the opening movement of his First Symphony. Soon after, she praised the Allegro in a letter to the great violinist Joseph Joachim: "The movement is full of wonderfully beautiful passages, and the motives are handled

in the masterly fashion which he [Brahms] is making more and more his own. It is all interwoven in such an interesting way, and yet it goes with such drive that it might have been poured forth in the first moment of inspiration; one can enjoy every note of it without being reminded of the labor there is in it." However, Brahms did not complete the other three movements of his First Symphony until 1876, when he was forty-three, and widely regarded as one of the leading composers in Europe. The unusual fourteen-year gestation of this symphony probably was due to Brahms's awe of Beethoven. "I shall never write a symphony," Brahms once confided to his friend, the conductor Hermann Levi. "You have no idea how much courage one must have when one always hears marching behind him such a giant [as Beethoven]." Like Beethoven's Fifth and Ninth Symphonies, Brahms's First Symphony can be heard as a progression from the conflict and struggle of the first movement, in minor, to the exultation and victory of the final movement, in major. In addition, the tuneful finale theme of Brahms First Symphony recalls the "Ode to Joy" melody of Beethoven's Ninth Symphony. Despite these general similarities, Brahms's First Symphony is utterly personal and individual in style.

First Movement: Un poco sostenuto (slow introduc�on); Allegro The slow introduction to the first movement, in minor, builds great tension. It opens with a powerful and insistent timpani beat that persists while two ideas move in opposite directions: a high rising melodic line in the violins and a descending motive in the woodwinds. After a mysterious soft passage for woodwinds and strings, pizzicato and bowed, the opening ideas return even more loudly, now accompanied by a timpani roll. The introduction concludes with an expressive melody in the oboe that is imitated by the cellos in a lower register. Many of the musical motives heard in the slow introduction return in varied ways in the Allegro movement that follows without a pause. The Allegro, in minor, begins with loud high woodwinds playing an accelerated version of the introduction's opening ideas. The violins quickly follow with an upward- thrusting theme that had been hinted at in the introduction. After a stormy climax, a decrescendo and shift to a major key introduce a descending oboe phrase that creates a contemplative mood. However, tension rises again when Brahms introduces a rapid, staccato short-short-short-long motive, fortissimo, and returns to a minor key. The development section begins very loudly with the strings varying the upward-thrusting theme. Playing an important role in this section is the short-

short-short-long motive with four identical repeated notes in the brasses. In the recapitulation, we hear a return of the themes presented in the first part of the movement. The coda, or concluding section, begins with powerful staccato gestures and includes a melancholy reminiscence of the slow introduction with a quietly insistent short-short-short-long rhythm in the timpani. Rather unexpectedly, the coda becomes softer and calmer and the movement ends with a soaring arpeggio in major that creates a hopeful mood.

Second Movement: Andante sostenuto The lyrical second movement, in major, has the form A-B-A (varied)-Coda. In the opening section, the violins introduce an extended, contemplative melody. An oboe follows with an expressive, flowing phrase in a higher register. In the B section the mood darkens as syncopated gasps in the strings accompany solos in minor played by the oboe and clarinet. The return of section A is varied in orchestration: now the main melody is presented softly by the high winds and a high solo violin plays the flowing phrase introduced by the oboe in the opening section. In the coda, a solo French horn and the solo violin create a feeling of tranquility.

Third Movement: Un poco Allegre�o e grazioso Instead of using a rapid scherzo, standard in nineteenth-century symphonies, Brahms created a unique kind of third movement that is brief, graceful, and moderate in tempo. Like the second movement, the Un poco Allegretto has the form A-B-A (varied)-Coda. In the A section, the clarinet and other woodwinds present a gracious, flowing melody. A gentle pizzicato accompaniment in the double basses provides a steady pulse. The middle section (B) opens softly with a repeated note idea, short-short-long, in the high woodwinds. This section builds to a fortissimo climax. Pizzicato strings lead to a varied and shortened return of the opening section (A). The Un poco Allegretto ends calmly, as did the two preceding movements.

Fourth Movement: Adagio; Allegro non troppo, ma con brio The dramatic slow introduction opens with a high poignant violin phrase that foreshadows, in minor, the main theme of the finale. After a very loud climax ending with a timpani roll, darkness turns to light, minor gives way to major, and French horns, then flutes play a radiant alphorn tune that Brahms heard while vacationing in the Swiss alps in 1868. Then three trombones softly intone a solemn, chorale-like melody. The Allegro non troppo, in major, begins with a song-like theme introduced by the strings and then repeated by the winds. When a friend pointed out to Brahms that this tune recalled Beethoven's Ode to Joy theme, he replied, "Any fool can see that!" After several subsidiary musical ideas, the main song-like theme returns, and its motives are developed. Near the end of this long movement, the tempo quickens, and the orchestra, fortissimo, proclaims the solemn, chorale-like melody heard in the slow introduction. Then Brahms's First Symphony surges to an exultant conclusion.

Anita Kamien | Conductor Maestra Anita Kamien, considered one of the finest women conductors in Israel, began her career as a pianist, having studied with Hilda Stern Parker and Irwin Freundlich of the Juilliard School. She won competitions of the Music Education League and the New York radio station WQXR, having been chosen by the pianist Rudolf Serkin. Anita Kamien holds an M.A. in music analysis from Queens College where

she taught. While studying harpsichord and organ in Italy, she was asked to conduct Italian radio RAI choirs, which marked the beginning of her conducting career. Soon after, she helped prepare the premiere of Leonard Bernstein's Kaddish Symphony in Israel, performed by the Israel Philharmonic Orchestra and Choir. In the United States, she studied conducting with Harold Aks at the Mannes School of Music, in master classes with Simon Rattle at Tanglewood and Karel Streya with the Beersheva Sinfonietta. She held positions as conductor at the 92nd St.“Y” and prestigious groups in the New York area. She conducted the Long Island Symphony Orchestra, chosen by the City Center Opera conductor Lazslo Halasz, in a memorial for the renowned tenor, Richard Tucker. Upon immigrating to Israel, Maestra Kamien founded the Hebrew University Orchestra twenty-one years ago. With that orchestra and her Hebrew University Choir, in conjunction with other Israeli choirs, she performed memorable performances of Mendelssohn's Elijah, Haydn's Oratorio The Creation, Beethoven's Choral Fantasy and Mozart's Davidde Penitente. She has performed the major classic and romantic symphonic and concerto repertoire with her orchestra at the Jerusalem Theater. She has launched many of Israel's young talents as soloists including violinist Yevgenia Pikovsky past concertmaster of the Jerusalem Symphony, currently with the Israel Philharmonic Orchestra and associate concertmaster of the Berne Symphony Orchestra, cellist Kirill Mihanovsky of the Israel Philharmonic Orchestra, and violist Yoel Greenberg of the prize- winning Carmel Quartet. Maestra Kamien conducted the Triple Concerto with pianist Roger Kamien, violinist Yvgenia Pikovsky and cellist Kirill Mihanovsky at the Jerusalem Theater as part of a Beethoven cycle with her symphonic orchestra. In 1997, she was asked to conduct the Jerusalem Symphony musicians of The King David String Ensemble which has since toured in 29 countries including France, Belgium, Spain, Portugal, Italy, United States from coast to coast, Canada, Australia, Japan, Philippines, Singapore, Korea, Myanmar, Sweden, Denmark, Chile, Ecuador, Peru, Panama, Guatemala, El Salvador, Argentina, Brazil, Venezuela, Malta, and Turkey in live televised concerts from the tent cities where they performed for victims of the Turkish earthquakes. In Thailand, she and the ensemble were invited to give Israel's formal salute to the King of Thailand on the occasion of his 72nd (sixth cycle) birthday. She has performed with the ensemble at numerous international music festivals and in special concerts in Japan requested by the Mayor of Ayabe, a twin city

to Jerusalem. In February of 2003, Anita Kamien conducted at the Jerusalem Hall of the Israeli Embassy in Washington, D.C. in a memorial concert for the Columbia Shuttle disaster. In Italy, her ensemble has performed in festivals in Frascati, the historic Sala Barozzi in Milan, and with pianist Roger Kamien, in Limone sul Garda. Maestra Kamien was invited to conduct and play with The King David String Ensemble in live broadcasts on Hawaii Public Radio and on WFMT Chicago’s Classical Music station, which resulted in the CD, “Live From Chicago”. Anita Kamien has appeared as both conductor-pianist conducting from the piano and as duo pianist with Roger Kamien. They have performed the Mozart Double Concerto many times and given recitals for piano four-hands and two pianos in 30 countries including China. Performances in Beijing and Shanghai coincided with the Chinese translation of the publication of the book Music: An Appreciation (McGraw-Hill) by Roger Kamien. The Jerusalem Chamber Philharmonic, composed of astonishing young soloist-caliber musicians, was created by Maestra Kamien for fundraising purposes for Shaare Zedek Hospital. Concerts performed in Los Angeles’s Wilshire Ebell Theater and New York’s Town Hall received unanimous praise. Tonight's concert with the Jerusalem Symphony Orchestra will benefit "A Package from Home" which aids lone and severely wounded soldiers.

Roger Kamien | piano Roger Kamien has appeared as soloist in 30 countries on five continents to great critical acclaim. He has appeared in Town Hall in New York and in Los Angeles with the Jerusalem Chamber Philharmonic playing Mozart's Concerto for Two Pianos, together with conductor-pianist Anita Kamien. In the Jerusalem Theater he has performed Chopin's Andante spianato and Grande Polonaise brillante, Schumann's Piano

Concerto, Beethoven's Emperor Concerto, and Triple Concerto with violinist Yevgenia Pikovsky and cellist Kirill Mihanovsky with the Hebrew University Orchestra, conducted by Anita Kamien. Professor Kamien combines the unique gifts of a performer, teacher and music analyst. He gives master classes on a regular basis at the Jerusalem Music Centre, co-teaching with the pianist Murray Perahia. Roger Kamien holds the Zubin Mehta chair in Musicology, Emeritus, at Hebrew University and is a specialist in the analytical theory of Heinrich Schenker. He has given lecture recitals at universities throughout the world, in New York, Tampa, Denton, Philadelphia, Melbourne, Bangkok, Milan, Beijing, and Shanghai, focusing on the connection between music analysis and performance. In Jerusalem, he is affiliated with the Edward Aldwell Centre for musical excellence and performance where he works with Israel's gifted young pianists. Roger Kamien was born in Paris and was brought to the United States at the age of six months. He studied piano with his mother, the composer-pianist

Anna Kamien, then with Nadia Reisenberg and the legendary pianist Claudio Arrau. Kamien received a B.A. in music from Columbia University and an M.A. and Ph.D in musicology from Princeton University. There he performed as soloist with the Princeton University Orchestra. He later returned to Paris as a Fulbright scholar, for research on eighteenth-century music. Professor Kamien taught music history, theory, and literature for two years at Hunter College in New York, and then for twenty years at Queens College of the City University of New York. His studies in Schenkerian analysis were with Felix Salzer and Ernst Oster. During his academic career he was also active as a pianist, performing solo and chamber music, appearing both in the United States and in Europe. Roger Kamien moved with his family to Israel in 1980, when he taught at Bar Ilan University. His college textbook Music: An Appreciation (McGraw-Hill), first published in 1976, is now in its tenth regular edition and seventh brief edition and has been translated into Chinese and Spanish. In addition, he was the editor of The Norton Scores and Israel Studies in Musicology, one of the co-authors of A New Approach to Keyboard Harmony, and a contributor to Schenker Studies, The Cambridge Companion to Beethoven, The Musical Quarterly, and other musicological journals.

Jerusalem Symphony Orchestra, IBA

Violin Jenny Hünigen, concertmaster Geana Gandelman concertmasterYuri Glukhovsky

assistant concertmasterMarina Schwartz * Vitali Remenuik Olga Fabricant Ester GoldermanMichael Schvartzman Motti BilgoraiBea Sharon-ChrishanEduard Kosovich Yevgeny Voskoboynikov Diana Tsaliovich

Violin IIVictor Salomon*** Elina Yanovitsky*** Vitali Ostrowsky ** Raphael RivkinMark BardensteinEleonora Spichko Michael Tsinkin Adrian BugichiAlIa Skurkovich

ViolaRichard Assayas*** Amos Boasson***Michael Damian **Vaclav IoffeMichael Ferdman Moshe LifshitzMark LotkinAlexander Tumarison Miriam Fingert Alexander Shoichat

CelloIna-Esther Joost Ben Sassoon***Irit Assayas*** Oleg Stolpner **Boris MihanovskiYaghi Malka Peled Emilya Kazewman RivkinTzalel MendelsonLilya Kvartich-Flaksman

Double BassSergei Gralnick*** Eitan Reich **Vladimir RivkinSlava KozodoiUri Arbel

FluteNoam Buchman*** Rami Tal ** Vladimir Silva

PiccoloVladimir Silva

OboeDemetrios Karamintzas***Ronald Engel **Shira Ben Yehoshua

English HornShira Ben Yehoshua

ClarinetGershon Dembinsky*** Victor Berlin ** Sigal Hechtlinger

Bass clarinet Sigal Hechtlinger

BassoonRichard Paley*** Alexander Fine ** Barbara Schmutzler****Yoel Polishuk

Contra bassoon Barbara Schmutzler****Yoel Polishuk

HornEyal Vilner*** Anat ParnesHagai ShalomBarak Yavin

TrumpetDmitri Levitas*** Richard Berlin **

TromboneShahar Livne***

Bass trombone Shai Nissenboim

TubaGuy Hardan***

TimpaniYoav Lifshitz ***

PercussionMerav Askayo*** Tom Betzalel

**** Sabbatical*** principal** assistant principal* deputy principal

Board of DirectorsYair Stern – chairMichael BavlyUri DromiEyal FrohlingerRuth HaCohen (Pinczower) Avi HananiDavid HarmanMoshe SafdiNurit Yardeni-LeviGershon Dembinsky – observer

AdministrationProduction: Ziva AlmagorMarketing and Sales: Leah Frenkel, Hagit Yisraeli, Sarit GeteLibrarian: Olga StolpnerPlayers’ Coordinator: Carmen LehnerMusic Coordinator and Program editor: Eran SachsStage manager: Haim OzStaff Ccordinator: Esti LaxAccountant: Irit Levi-CampusPublic Relations: Etty Eshed PR Secretary: Betty Schweitzer

The Jerusalem Symphony Orchestra, IBA - 5 Chopin St., POB 4640, Jerusalem 91040Tel. 1-700-70-4000, Fax: 02-566-9117www.jso.co.il

Members of the Jerusalem Symphony Orchestra, IBAThe 73nd Season 2010-2011