T H E

P H I L H A R M O N I A

O R C H E S T R A O F

Y A L E

Robert Blocker, Dean

february 27, 2015 friday, 7:30 pm morse recital hall

bla bartk Music for Strings, Percussion and Celesta I. Andante tranquilloII. AllegroIII. AdagioIV. Allegro molto

intermission

wolfgang amadeus mozartConcerto for Bassoon in B-flat major, K. 191 I. AllegroII. Andante ma adagioIII. Rondo: tempo di menuetto

Darren Hicks, bassoon Winner of the 2014 Woolsey Concerto Competition

ludwig van beethovenSymphony No. 5 in C minor, Op. 67I. Allegro con brioII. Andante con motoIII. Scherzo. AllegroIV. Allegro

As a courtesy to others, please silence all cell phones and devices. Photography of any kind is strictly prohibited. Please do not leave the hall during musical selections. Thank you.

Heejung Park, conductor

Shinik Hahm, conductor

Louis Lohraseb, conductor

program notes

Bla Bartk 18811945Music for Strings, Percussion, and Celesta

Bla Bartks music, full of contradictions and oppositions, reflects his multiple roles as a modernist intellectual and a pioneer of the ethnomusicological movement. A renowned composer and pianist, Bartk wrote Music for Strings, Percussion and Celesta for the Basel Chamber Orchestra in 1936. With this piece he entered his most artistically creative period, which includes such works as Contrasts and the Concerto for Orchestra.

Music for Strings, Percussion and Celesta is a landmark piece of music most exemplary for its vigorous summation of Bartoks unique style. He juxtaposes folk-like modality with strong dissonance, sensuality with intel-lectual rigor, and soft textures with sharply etched melodies. The orchestra itself repre-sents opposition, with two identical string groups on either side, linked with the centered piano, harp, and percussion. This piece has exceptionally clear form, each line navigating with purpose and direction. The narrow theme that begins the piece pervades all of the movements, and first appears as a densely chromatic subject for contrapuntal invention. The second movements melodies build by expanding aspects of the general shape of the theme. The result of this transformation is subjected to extreme de-velopment while being passed from one side of the stage to the other with stereophonic abandon. The adagio movement quotes the first theme as an introduction to each of the five sections, two of which feature the expressionist night music style that Bartk had explored in his piano piece Out of Doors. The finale, a dance-rondo, reaches its climax when the narrow themes tritone gamut is expanded to fill an octave. This important moment reveals the themes potential for both chromatic and diatonic treatment. This thematic property is an apt representation of Bartks dual citizenship in the chromatic and diatonic worlds, and his role as both a modernist and a folklorist.

Adam B. Silverman

Wolfgang Amadeus Mozart 17561791 Concerto for Bassoon in B-flat major, K. 191

An eighteen-year old Mozart had just begun his service in the court of Prince-Archbishop Hieronymus Colloredo of Salzburg when he com-

posed this concerto in 1774. Jubilant perfume and contrasting moods characterize the mid-18th-century Galant style in this work. Scholar Kofi Agawu identifies some of Mozarts tools in terms of musical topics such as lightning-quick technical displays known as the brilliant style, fluffy elements that anticipate opera buffa, and the shadowy minor-key ombra of the second large solo area. Compositional virtuosity in this period balances the variety of these topics (to provide interest) while maintaining a convincing filo, or connecting thread, throughout the architectural features of the concerto-sonata form (to provide coherence).

Formally, the early concertos of Mozart are an expansion of the enduring expositiondevelop- mentreturn sonata form. These early works are like musical lasagna: a pasta layer of orchestral ritornello (roughly an interlude) followed by a rich ricotta layer of solo fireworks, followed by more pasta, and so forth. Note how even in ricotta sections, the bassoon will politely step back and allow the violins to elaborate. Owing to its traditional role as a member of the continuo section (much like the baritone saxophone doub- ling the bass player in the rhythm section of a big band), the principal bassoonist of Mozarts time would play throughout the solo sections and the ripieno interludes. Although the orch- estral roster in Salzburg at the time featured a larger than usual section of violins and double basses (twelve and four respectively, compared to two violas and two cellos), Mozart only had two bassoonists on hand. This tradition of doubling the ripieno has fallen out of modern practice, in which there is often a sharp distinction be- tween the orchestra and the concert artist. Additionally, the four-keyed bassoon of the mid-18th century has been retired in favor of the modern instrument (which has nine keys for the thumb alone!), with its extended high range and improved pitch stability.

Mozart eventually left Salzburg, dissatisfied be- cause he had been unable to work on opera as frequently as he pleased. Some of his devotion to opera shows here: in the second movement, the soloist leads us on a leisurely walk through the bucolic aria marked Andante ma Adagio. The last movement unfolds as a courtly rondo in the style of a minuet, replete with all the brill- iance and humor one might expect of a teenaged Mozart writing for the clown of the orchestra.

Tonights cadenzas are written by Darren Hicks.

Samuel Suggs

artist profiles

Ludwig van Beethoven 17701827Symphony No. 5 in C minor, Op. 67

Many of us assume when we hear the symphony today that it sounds so simple and right that it must have spilled out of Beethoven in one steady gush. But not at all; Beethoven left pages and pages of discarded materialenough to fill a whole book He sometimes altered passages as much as twenty times. Leonard Bernstein in 1954

Within Beethovens sketchbooks, we can find the creative germs from which this viral sym- phony propagated. The earliest sketches date back to 1804 before either the Third or Fourth Symphonies had been performed. The four-year gestation period of this monomaniacal sym- phony coalesced in a four-hour-long concert which also featured a new Fourth Piano Concerto and Sixth Symphony. The perfor- mance in Leipzig, according to playwright and music critic Friedrich Rochlitz, was not a home run, in part, due to the exhausting length of the program and because the orchestral forces were too large to coordinate the Scherzo-Trio.

An earlier sketch of the Andante con Moto theme is a simple rising sequence with pas- sionate 4-3 suspensions. Instead of venturing into the variations movement with this nostalgic material, Beethoven instead chose a similar version replacing the repetition with a burst of C major sunshine. The relentless and massive C minor coda of the first movement had denied its sonata burden of this bright-ness, but the optimistic C major is resilient and shimmers in the Trio before overtaking the finale with eight final hammer blows.

In the sketches of the Scherzo-Trio, Beethoven had copied twenty or so bars of the finale of Mozarts Symphony No. 40 in G minor, corres- ponding to the undulating arpeggios of the low strings which begin the movement. The thread is further displayed in the first move- ment of another Symphony in C minor, Brahms Op. 68 (compared to Beethovens Op. 67).

Brahms responds to Beethovens scherzo rhe- torically by absorbing the dit-dit-dit dah theme and by emphasizing the subversive E-flat minor (instead of E-flat major) as the complement to C minor. In the entire first Scherzo section, Beethoven unrelentingly evades releasing the tension of the minor key until the fugato of the Trio. Additionally, there is only one full cadence throughout the Scherzo at the climax of the section. In the analogous

abridged pizzicato recapitulation, the moment of cadence is subverted by the appearance of a new low, droning, pedal point which propels forward into the shining fourth movement.

From the sketches, we know that Beethoven conceived of this work not with the four-movement blueprint of Haydn and Mozart, but in three movements. Although the segue from the Scherzo-Trio into the Finale blurs the line between those two movements, the conceptual synthesis is more convincing when the marching scherzo theme returns as the nadir from which the grand recapitulation explodes. The insertion of this Scherzo material into the Finale is cannibalistic: the symphony eats its own tail in order to complete its organic architecture. Samuel Suggs

conductor Shinik Hahm

Shinik Hahm has established himself as a dynamic and exciting conductor. His guest-conducting appearances include engagements in Europe, North and South America, and Asia. He has led orchestras in prestigious concert halls such as Carnegie Hall, the Concertgebouw in Amsterdam, the Kennedy Center in Washington D.C, Walt Disney Hall in Los Angeles, Verizon Hall in Philadelphias, Benaroya Hall in Seattle, Joseph Meyerhoff Symphony Hall in Baltimore, the Rudolfinum in Prague, Boston Symphony Hall, the Seoul Arts Center, the Tokyo Opera City Hall, and the National Theater of China. As music director and chief conductor of the Korean Broadcasting System (KBS) Symphony Orchestra, Maestro Hahm led the orchestra on tour with concerts at the General Assembly of the United Nations, the Kennedy Center, and Carnegie Hall. Hahm served as music director of the Daejeon Philharmonic Orchestra from 2001 to 2006, during which time the orchestra earned national and international acclaim through concert tours in the U.S. and Japan.

Committed to the pedagogy of conducting, Maestro Hahm has been a member of the con-ducting faculty at the Yale University School of Music since 1995. His students from Yales con-ducting program have won top prizes at the Besanon, Pedrotti, Toscanini, and China National conducting competitions, and are active at the helm of various orchestras in the United States, Europe, and Asia.

artist profiles

Maestro Hahm studied conducting at Rice University, where he received the Shepherd Society Award, and the Eastman School of Music, where he earned the Walter Hagen Conducting Prize. In 1991, Hahm won the prestigious Gregor Fitelberg Competition for Conductors, and in 1995, he was decorated by the Korean government with the Arts and Culture Medal.

Heejung Park, assistant conductor

Originally from South Korea, Heejung Park started studying music in 2004 at the Korea National University of Arts, receiving a Bachelor of Music degree in orchestral conducting and leaving behind his career as a mathematics teacher. He received his Master of Music degree in orchestral conducting at the Sibelius Academy in Helsinki under the tutelage of Maestro Leif Segerstam and Jorma Panula. Currently, he is completing his studies in the Artist Diploma program at the Yale School of Music under the instruction of Shinik Hahm.

Mr. Park was a semifinalist at the Tokyo Inter-national Conducting Competition in 2009 and a quarterfinalist at the Besanon International Conducting Competition in 2011. He was in-vited to the 2007 Spring Prague International Conducting Competition, the 2008 Pedrotti International Conducting Competition, the 2011 Moldova Music Festival, and the 2012 Ha-mellina Musica Festival. He has worked with the Korvat Auki Finnish Modern Festival, the NYKY Ensemble, the Joensuu City Philhar-monic Orchestra, the Espoo Tapiola Orchestra, the Sibelius Academy Opera Production, the Hamellina City Orchestra, the Kwacheon City Orchestra, the KNUA Opera Produc-tion, and the Suwon City Philharmonic Or-chestra. In addition, he established the Dyne Classical Orchestra and Theater in 2007.

Louis Lohraseb, assistant conductor

As a conducting fellow at the Yale School of Music, Louis Lohraseb currently studies under Shinik Hahm. Lohraseb studied piano with Findlay Cockrell and Amy Stanley, com-position with Robert Levin, musicology and composition with William Carragan, conduct-ing and composition with James Walker, and conducting with Gerard Floriano. As a con-ductor, Mr. Lohraseb was the assistant direc-tor of the Geneseo Symphony Orchestra and the music director of the Friends of Music Or-chestra in which is comprised of members of the Rochester Philharmonic Orchestra. He has

also directed J.S. Bachs Magnificat and Mo-zarts Jupiter Symphony.

Conducting from the keyboard, Mr. Lohraseb has performed many concertos of Mozart as well as J.S. Bachs Brandenburg Concerto No. 5, and Bachs two triple harpsichord concertos. Recent credits include the Mozart two-piano concerto and Rachmaninovs Second Concerto with the Geneseo Symphony Orchestra. Mr. Lohraseb has participated in a number of cham-ber music recitals, and his compositions have been performed internationally. His recent musicological work on the sources of Bruck-ners Sixth Symphony was presented at a musi-cological conference at the University of Oxford and was published in the Bruckner Journal. He graduated summa cum laude from SUNY Geneseo, where he was an Edgar Fellows Honors student and became a member of Phi Beta Kappa.

Darren Hicks, bassoon

Darren Hicks is an award-winning Canadian bassoonist involved in both the orchestral world and the chamber music scene. Upcoming per-formances include recitals in Toronto at the Glenn Gould School as part of the Rebanks Family Fellowship and a multi-media perfor-mance of Stravinskys The Soldiers Tale at the Alliance Franaise in Toronto. His orchestral experiences include participating in the Verbier Festival Orchestra for two years and working with conductors like Valery Gergiev, Gianan-drea Noseda, Daniel Harding, Charles Dutoit, and Yuri Temirkanov. He has also performed with the Toronto Symphony Orchestra, the National Arts Centre Orchestra, and conduc-tors Peter Oundjian, Trevor Pinnock, Pinchas Zukerman, and Alexander Shelley. Summers spent at the Banff Centre, Domaine Forget, and the National Youth Orchestra of Canada have allowed Darren to work with the bassoonists Whitney Crockett, Gilbert Audin, and Kathleen McLean, as well as perform chamber music under the guidance of Werner Herbers. Acco-lades include the Deans Prize at Yales 2014 Commencement, the Thomas Daniel Nyfenger Prize (for excellence in woodwind playing) from the Yale School of Music, and the 2012 National Arts Centre Orchestra Bursary Prize. A graduate of the Yale School of Music (14MM) and the University of Ottawa (12 BMus), his principal teachers are Frank Morelli and Christopher Millard (bassoon), Joan Panetti (musician-ship), and David Shifrin (chamber music).

about yale philharmonia

The Philharmonia Orchestra of Yale is one of Americas fore- most music school ensembles. The largest performing group at the Yale School of Music, the Philharmonia offers superb training in orchestral playing and repertoire.

Performances include an annual series of concerts in Woolsey Hall, as well as Yale Opera productions in the Shubert Performing Arts Center. The Yale Philharmonia has also performed on numerous occasions in Carnegie Hall and Alice Tully Hall in New York City and at the Kennedy Center in Washington, D.C. In 2008, the orchestra undertook its first tour of Asia with acclaimed performances in the Seoul Arts Center, the Forbidden City Concert Hall and National Center for the Performing Arts (Beijing), and the Shanghai Grand Theatre.

violin iZou YuDo Hyung KimMlanie ClapisJinyou LeeBenjamin HoffmanBarbora KolarovaYena LeeXi LiaoAvi Nagin

violin iiDae Hee AhnRuda LeeInyoung HwangSungmi ParkMarina AikawaYefim RomanovShuali DuYuri Mitsuhashi

violaBatmyagmar ErdenebatDaniel StoneDavid MasonXinyi XuHyeree YuYejin Han

celloPall KalmanssonNayeon KimYoonha YiKimberly Miyoung JeongBora KimAlan Ohkubo

bassChristopher LettieSamuel SuggsSamuel BobinskiWill Robbins

fluteChristina HughesJonathan SladeJoanna Wu 2

oboeRoss Garton 1Kemp Jernigan 2Fiona LastSol Jee Park

clarinetKenta Akaogi 2William Kennedy

bassoonBarbara Bentley 2Carl GardnerYen-Chen Wu

hornSarah Boxmeyer 2Patrick Jankowski 1

trumpetMikio Sasaki 2Daniel Venora

tromboneRichard Liverano Elisabeth Shafer 2Johnathan Weisgerber

timpaniMatthew Keown 1Kramer Milan 2

percussionYifei FuJeffrey SternMatthew Keown

harpNol Wan

pianoXing Zhang

celesteChen Zhang

1 Principal on Mozart2 Principal on Beethoven

The Philharmonia Orchestra of Yale

shinik hahm Conductor

philharmonia staff

andrew w. parker Manager

roberta senatore Assistant Manager

louis lohrasebAssistant Conductor heejung parkAssistant Conductor

student assistantsTimothy Gocklin Heejung Park

music librariansNicholas DiBerardino Allan Hon Natasha HuangMatthew Keown Fiona Last Michael Laurello Richard Liverano David Mason Marie OkaYefim Romanov

stage crewSamuel BobinskiJohn Caughman Patrick Durbin Batmyagmar Erdenebat Yifei Fu Julia Ghica Matthew Keown John Kossler Fiona Last Thomas Park Elisabeth Shafer Terrence Sweeney Georgi Videnov Johnathan Weisgerber

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