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YALE PHILHARMONIA SHINIK HAHM Music Director JULIAN PELLICANO Conducting Fellow REINIS ZARINS Piano MAY 1 2009 MUSIC OF Strauss Ravel Rachmaninoff Robert Blocker, Dean

Yale Philharmonia: May 1, 2009

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Shinik Hahm, music director; Julian Pellicano, assistant conductor; Reinis Zarins, piano. Strauss: Till Eulenspiegel; Ravel: Piano Concerto for Left Hand; Rachmaninoff: Symphony No. 2. Zarins is a winner of the 2008 Woolsey Hall Competition.

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Page 1: Yale Philharmonia: May 1, 2009

YALE PHILHARMONIASHINIK HAHM Music Director

JULIAN PELLICANOConducting Fellow

REINIS ZARINSPiano

MAY 12009

MUSIC OFStrauss RavelRachmaninoff

Robert Blocker, Dean

Page 2: Yale Philharmonia: May 1, 2009

YALE SCHOOL OF MUSIC

As a courtesy to the orchestra and to other audience members, turn off cell phones and pagers. Please do not leave the hall during selections. Photography or recording of any kind is not permitted.

STRAUSS

RAVEL

RACHMANINOFF

Till Eulenspiegel's lustige Streiche, Op. 28(Till Eulenspiegel's Merry Pranks)

Julian Pellicano, Conducting Fellow

Piano Concerto for the Left Hand in D major Reinis Zarins, Piano

INTERMISSION

Symphony No. 2 in E minor, Op. 27Largo—Allegro moderatoAllegro moltoAdagioAllegro vivace

PHILHARMONIA ORCHESTRA OF YALEShinik Hahm, Music Director

Page 3: Yale Philharmonia: May 1, 2009

Violin 1Jiyun Han, concertmasterMarc Daniel Van BiemenSo Young KwonNaria KimDavid SouthornEvan ShallcrossYoorhi ChoiNicholas DiEugenioSae-Rom YooMarjolaine LambertKyung-Jun Kim

Violin 2Michelle Abraham, principalAnastasia MetlaQi CaoYoungsun KimRuby ChenJae-Won BangJae In ShinBenjamin CharmotJennifer HsiaoYu-Ting Huang

ViolaMatt Hofstadt, principalMathilde Geismar RousselEdwin KaplanHyun-Jung LeeChristopher WilliamsBo LiMin Jeong ChaKeju WangCong WuFeifei Yuan

CelloWonsun Keem, principalPhilo LeeMo MoHannah CollinsSifei WenYing-Chi TangLaura Usiskin

PHIILHARMONIA ORCHESTRA OF YALE

KRISTA JOHNSONManaging Director

MERYN DALY Production Coordinator

JULIAN PELLICANOAssistant Conductor

FARKHAD KHUDYEVAssistant Conductor

SHINIK HAHM Music Director

RENATA STEVELibrarian

Yoon Hee KoJacques WoodJoann Whang

BassJames Hasspacher, principalWen YangPatrick O’ConnellNathaniel ChaseBrian EllingsenBrian Thacker

Flute & Piccolo Christopher Matthews, 1, 2*, 3 (Piccolo)Sabatino Scirri, 1 (Piccolo)Jihoon Shin, 1*, 2 (Piccolo), 3Yoobin Son, 1, 2, 3*

OboeMichelle Farah, 1*, 3Merideth Hite, 1, 3*Steven Kramer, 1 (English Horn), 2*Carl Oswald, 2Andrew Parker, 1, 3 (English Horn) Jennifer Shark, 2 (English Horn)

ClarinetPaul Won Jin Cho, 1 (Eb Clarinet), 2 (Eb Clarinet)Danny Erdman, 1*, 2*, 3Jenny Ferrar, 1, 2, and 3 (Bass Clarinet)Xiaoting Ma, 1, 2, 3

BassoonNicholas Akdag, 1, 2, 3* Sam Blair, 1 Jeremy Friedland, 1*, 2*Scott Switzer, 1 (Contrabassoon), 2 (Contrabassoon)

HornYoo-Jin Choe, 1, 2* Elizabeth Fleming, 1* Scott Holben, 1, 2

Leelanee Sterrett, 3* Ryan Stewart, 2, 3Tianxia Wu, 1, 3Donna Yoo, 2, 3

TrumpetJohn Brandon, 2Michael Brest, 1, 2*John Heinen, 1*, 3Douglas Lindsey, 1, 3Kurt Schewe, 2, 3*

TromboneJennifer Griggs, 1*, 2*Achilleas Liarmakopoulos, 3*Ted Sonnier, 1, 2, 3

Bass TromboneRichard Henebry, 1*, 2*, 3*

TubaStephanie Fairbairn Ycaza, 1*, 2*Bethany Wiese, 3*

PercussionJohn CorkillLia DeRoin, 2 (Timpani)Ji Hye Jung, 3 (Timpani)Dennis Petrunin, 1 (Timpani)Michael Zell

HarpColleen Potter, 2*

1 - Performer on Strauss2 - Performer on Ravel3 - Performer on Rachmaninoff* - Denotes Principal Player

Page 4: Yale Philharmonia: May 1, 2009

Conductor and composer Richard Strauss was one of the most successful musicians of the late Romantic era. The son of an accomplished hornist, by the age of twenty he had become a protégé of the famed conductor Hans von Bülow and by the age of twenty-one had replaced him as conductor of the Meinigen Orchestra. He distinguished himself as a composer favoring opera and the symphonic poem, a genre which had been pio- neered by Franz Liszt thirty years earlier. Based on a prescriptive text or title, the music portrayed a narrative or philosophical concept without the aid of spoken or sung words. Strauss brought this art to new heights with his impeccable sense of theatricality, colorful textures, and tonal coherence.

By 1895, Strauss had earned acclaim by composing three tone poems: Macbeth (1886), Don Juan (1889) and Death and Transfiguration (1893). In his next work, Till Eulenspiegel (1895), he experimented further with the genre. For this work, themes are composed not just for their tones but for their orchestral effect. Distinctive color dominates so that every moment reveals a new sparkling gem of sound, and all other musical features are calculated to best serve the orchestral palette. In the Wagnerian spirit of requiring ever-larger ensembles, Strauss’s orchestra for Till Eulenspiegel includes sixteen woodwinds, eight horns, six trumpets, percussion, and a suggested string complement of sixty-four players. Two themes represent Till himself, one in the horn and the other in the clarinet. Strauss’s conducting career served him well in developing an unerring inventiveness of scoring. His sense of color, combined with musical complexity and leitmotivic symbolism, made his tone poems more than just works of onomatopoeic imitation; Strauss had developed a tool with which he could express philosophy, dramatic struggle, and disdain for critics.

The original Till Eulenspiegel, as recounted in the folk stories of Dr. Thomas Murner (1475-1530), was a fourteenth-century figure whose coarse pranks almost cost him his head on the gallows. Strauss darkened the ending by carrying out Till’s execution. At the end, Till’s clarinet rises and then sighs a last breath, but his spirit lives on in the epilogue as a sad melody which had been abandoned earlier in the piece. Even in death, Eulenspiegel has the last laugh, and his spirit mocks his executioners in a final cadence.

—Adam Silverman

RICHARD STRAUSS(1864-1949)

Till Eulenspeigel's lustige Streiche, Op. 28

Page 5: Yale Philharmonia: May 1, 2009

MAURICE RAVEL

(1875-1937)

Piano Concerto for the Left Hand in D major

Born to a Swiss father and Basque mother, Maurice Ravel grew up in Paris and studied piano and composition at the Conservatoire until 1903. His work is known for its sense of proportion and balance and carefully crafted orchestration. He drew from several influences, including fin-de-siècle French art in the early 1900s, impressionism, jazz, and classical composers.

In 1929, Paul Wittgenstein, a pianist who had lost his right arm in the first World War, asked Ravel to write him a concerto. Ravel responded with a grand and imposing work that in no way allows the limitations of the pianist to hamper the virtuosity of the solo part.

The concerto’s impressionistic introduction opens with a line in the bassoon that hints at the coming main theme. An orchestral crescendo prepares the piano’s first cadenza, which presents a grandiose main theme. A bridge incorporating (in the composer’s words) “an improvisatory atmosphere” follows, pitting running passages in the piano against various orchestral instruments. The bridge leads to the work’s middle section, marked by ostinati and a 6/8 rhythm that suggests Ravel’s Basque heritage. The piano and orchestra then restate the main theme, and after a second cadenza, the work makes a brief and fiery peroration.

– David Heetderks

Page 6: Yale Philharmonia: May 1, 2009

In 1906-7, when he wrote the Symphony No. 2, Rachmaninoff was experiencing great success both as a composer and pianist. He had recently arrived in Dresden from Moscow and was en- joying a happy period with his wife. A feeling of triumphant optimism—not necessarily lighthearted, but exuberant none- theless—shines throughout. Some of Rachmaninoff ’s most beautiful melodies are found in this work.

The first movement is a sonata form, with the first thematic area in the tonic and the second subject in the relative major. The main theme is introduced in the Largo by the cellos and basses and recurs in some form throughout the four movements. Refer- ring to this as a cyclical element would perhaps overstate its role, however. The motive lingers frequently in the background but is not the point of genesis from which the whole work blos- soms. In the recapitulation of the first movement, Rachmaninoff demonstrates his considerable contrapuntal skill in the presen- tation of the second subject (now in the parallel major).

The second movement, in the style of a Russian dance, proceeds at a fearsome pace. Structurally, the movement is in A minor and is set in large-scale ABA form, in which both the first and last sections are themselves ternary. After the opening dance-like section, a melodic section follows, only to be enveloped once again in an ensuing dance section. A fugato sets off the large- scale departure. This fugue then returns to the dance-like section which eventually completes the ternary form. The Adagio is in a ternary structure like the second movement, though now in A major instead of minor. The middle section briefly reestablishes the home key of E but returns to A shortly after, thereby under- cutting any true return to E. The finale is set in sonata allegro form, of which the first thematic group is a robust dance. This theme then gradually arrives at the second thematic group, one of Rachmaninoff ’s most beautiful melodies. Thematic fragments from the previous three movements are recalled throughout the development. In the recapitulation, the second subject, now in E, combines with the dance figure to provide a rousing conclusion to a magnificent symphonic statement.

— Philip Ficsor

SERGEI RACHMANINOFF(1873-1943)

Symphony No. 2 in E minor, Op. 27

Page 7: Yale Philharmonia: May 1, 2009

PHILHARMONIAORCHESTRA OF YALE

Since 1894

music.yale.edu/philharmonia

The Philharmonia Orchestra of Yale is one of America’s foremost 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. In addition to its New Haven appearances, the Philharmonia Orchestra of Yale has performed on numerous occasions in Carnegie Hall and Alice Tully Hall in New York City and at the Kennedy Center in Washington, D.C. The Philharmonia recently 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. The beginnings of the Yale Philharmonia can be traced to 1894, when an orchestra was organized under the leadership of the School’s first dean, Horatio Parker. The orchestra became known as the Philharmonia Orchestra of Yale in 1973, with the appoint- ment of Otto-Werner Mueller as resident conductor and William Steinberg, then music director of the Pittsburgh Symphony, as Sanford Professor of Music. Brazilian conductor Eleazar di Carvalho became music director in 1987, and Gunther Herbig joined the conducting staff as guest conductor and director of the Affiliate Artists Conductors program in 1990. Lawrence Leighton Smith, music director of the Louisville Symphony Orchestra, conducted the Philharmonia for a decade, and upon his retire- ment in 2004, Shinik Hahm was appointed music director.

Page 8: Yale Philharmonia: May 1, 2009

Shinik Hahm was appointed Music Director of the Philharmonia Orchestra of Yale and professor of conducting at the Yale School of Music in 2004. One of the most dynamic and innovative conductors of our time, Hahm is a sought-after musician among top North American, South American, European, and Far Eastern orchestras.

Hahm will conduct the 2009 European tour of Germany’s pro- minent Nordwestdeutsche Philharmonie, including a concert at the Amsterdam Concertgebouw. Hahm’s active 2006-2007 season featured splendid debuts in Geneva, Switzerland and Besançon, France.

Maestro Hahm made his Chinese debut with the country’s most prestigious orchestras, the China Philharmonic and the Guangzhou Symphony Orchestra. Since 2006 he has enjoyed a remarkable collaboration with Mexican orchestras. After a suc- cessful debut with the Mexico National Symphony and Xalapa Symphony Orchestras, the maestro was immediately re-engaged for coming seasons. In June 2005, he made a triumphant debut at the Bolshoi Hall in St. Petersburg, Russia with the St. Peters- burg Symphony Orchestra. His re-appearance with Los Angeles Philharmonic Orchestra at Disney Hall, after his 1993 debut at the Chandler Pavilion, was likewise successful. Hahm's enthu- siastic and highly creative music-making has distinguished him as one of the most versatile conductors of his generation.

In 2006 Maestro Hahm successfully completed his tenure as the Artistic Director and Principal Conductor of the Daejeon Philharmonic Orchestra in Korea, with which he toured the United States in 2004 and Japan in 2005. The DPO and Hahm performed in leading concert halls including Carnegie Hall (New York), Kimmel Center (Philadelphia), Benaroya Hall (Seattle), Meyerhoff Symphony Hall (Baltimore), Tokyo Opera City Concert Hall and Osaka Symphony Hall. The orchestra thoroughly benefited from his artistic leadership and sold out all concerts.

Hahm served as music director of the Abilene Philharmonic Orchestra for a decade (1993-2003). During his tenure he successfully converted the community ensemble into a profes- sional regional orchestra. He was profiled on ABC’s World News Tonight for his central role in rejuvenating and revitalizing the Abilene community.

SHINIKHAHM

Music Director

Page 9: Yale Philharmonia: May 1, 2009

Julian Pellicano is currently a fellow in orchestral conducting at the Yale School of Music, where he studies with Shinik Hahm, and assistant conductor of the New Britain Symphony, appointed by music director Jesse Levine. He has recently been appointed to the faculty at the Longy School of Music in Cambridge, where he will serve as Artistic Director of Large Ensembles and Music Director of the Longy Chamber Orchestra. At Yale, Mr. Pellicano serves as assistant conductor of the Yale Philharmonia and the New Music New Haven concert series. At the Norfolk Chamber Music Festival, Mr. Pellicano has been conductor of the Norfolk New Music Ensemble since 2008, and he has worked with New York-based New Paths, New Music, promoting cultural exchange through contemporary music. Their first tour encompassed five concerts throughout Turkey. More recently, Mr. Pellicano appeared as guest conductor with the Tuscaloosa Symphony, and he was a participant in the 2009 Kurt Masur Conducting Seminar in New York City.

In 2007, Mr. Pellicano was one of ten young conductors to re- ceive a fellowship from the Centre Acanthes in Paris to study with conductors Peter Eötvös and Zsolt Nagy, and the Orchestre Philharmonique du Luxembourg.

Julian Pellicano holds a BA in philosophy from Johns Hopkins University, degrees in percussion from the Peabody Conservatory and the Royal College of Music in Stockholm, Sweden where he studied with Jonathan Haas and Anders Loguin, respectively, and an MM in percussion from the Yale School of Music, where he studied with Robert van Sice. As a percussionist he has attended the Aspen Music Festival, was a soloist in the 2004 Young Nordic Music Festival, and was featured at the 2005 Holland’s Nationaal Jeugd Orkest festival.

Previous conducting teachers have been Dr. Harlan Parker and Per Andersberg. Awards include two stipends from the Royal Swedish Academy of Music, Yale’s Phillip F. Nelson Award, and the prestigious Presser Music Award.

JULIAN PELLICANO

Conducting Fellow

Page 10: Yale Philharmonia: May 1, 2009

Reinis Zarins, a native Latvian, studied the piano from the age of seven at the E. Darzins Special Music College and J. Withols Latvian Music Academy with Raffi Kharayanian. He has won awards in nine international competitions, among them first prize in B. Smetana International competition (Czech Republic) and the Brother and Sister piano-duo competition in St. Petersburg, Russia.

At festivals such as Norfolk, MasterWorks, Crescendo, and Holland Music Sessions, Reinis has studied with such dis- tinguished artists as Karl-Heinz Kammerling, Jan Wijn, Claude Frank, Andre-Michel Schub, Ann Schein, and the Tokyo and Vermeer string quartets, among others. In 2007, Mr. Zarins toured in Europe as the winner of New Masters on Tour by International Holland Music Sessions, performing recitals in Amsterdam’s Concertgebouw, St. Petersburg’s Glazunov Hall, Bratislav’s Philharmonia, Diligentia den Haag, and others. Reinis has given recitals and performed with orchestras through- out Latvia, as well as in Lithuania, Estonia, Germany, the Czech Republic, and both coasts of the US.

He is the recipient of the E.B. Storrs, B. Simonds, G.W. Miles, and S. & D. Adams scholarships. He also has been awarded the C.S. Miller prize at the Yale School of Music, where he is currently pursuing his Certificate degree with Boris Berman.

REINIS ZARINS

Piano

Page 11: Yale Philharmonia: May 1, 2009

PHILHARMONIAORCHESTRA OF YALE

2008-09 Patrons

Charles Ives Circle$600 and above

Richard H. DumasJames M. Perlotto, M.D. in memory of Mrs. Dorothy HayesBill Tower

Paul Hindemith Circle$250 to $599

Serena & Robert BlockerChris & Toddie GetmanCarleton & Barbara LoucksMrs. Jane RocheSusan E. Thompson

Horatio Parker Circle$125 to $249

America Film Studios, Inc.Brenda & Sheldon BakerAnn BlissJoan K. DreyfusWinifred & Shinik HahmRuth Hochmann-SohnFrancesco IachelloRobert & Mary KeaneChristine M. LinDr. David LobdellHelen Redmond & Doug MacRae

Samuel Simons Sanford Circle$50 to $124

Max & Annette BaileyDr. & Mrs. Dwight & Lois BakerMyrna F. BaskinBlake & Helen BidwellMuriel & Ernest BodenweberMs. Jennifer BonitoRose & Frank BonitoHarold & Maureen BornsteinWilliam F. BurnsJoel Cogen & Beth GilsonMimi & John ColeEarl & Joyce ColterWayne & Dorothy CookJohn & Jennifer CopelinLeo Cristofar & Bernadette DiGiulianBarbara & Frank DahmBernardine & Richard DiVecchioElizabeth M. DockEdwin M. & Karen C. DuvalElizabeth EganMs. Jennifer L. Embriano

Jeannine EstradaLucy Brady FarrarHenry & Fe FriedmanMartin & Katherine GehnerCyrus & Rosamond HamlinHenry Harrison & Ruth LambertJune & George HigginsDrs. James Hsiao & Brooke BallardMark & Marsha KileyNancy C. & William R. LiedlichRev. Hugh MacDonaldJames MansfieldKitty & Lew MatzkinBetty MettlerElizabeth S. MillerJames V. PocockPatty & Tom PollardRocco & Velma PuglieseAnne SchenckSuzanne Solensky & Jay RozgonyiBetty & Martin SumnerMr. Henry SykesMr. & Mrs. Gregory TumminioRichard & Mary-Jo WarrenEmily Aber & Robert WechslerBob & Wendy WheelerWerner & Elizabeth WolfSeymour Yudkin

Gustave Jacob Stoeckel Circle$25 to $49

Anonymous (2)Edward & Joanne BlairMrs. Morris BlausteinPeter & Nancy BlomstromMindy & Stan BrownsteinAntonio CavaliereJames & Joyce ChaseRosemarie S. ChavesLouis & Beatrice DalsassR. R. D’AmbruosoLiz & Paul EganThomas & Judith FoleyMr. & Mrs. Charles FormanDolores GallSaul & Sonya GoldbergMrs. Jerome GreeneMrs. Ken L. GrubbsMs. Mary Ann HarbackJoyce & Addy HirschhornDr. Victoria HofferC. HornishLynette JordanTom & Fran KingJohn & Carol LangPeter LengyelJoel Marks

In memory of Helen H. Yaggi by the Methot familyRon & Sue MillerMr. & Mrs. Seif MozayeniJane & Jack I. NovickFred & Helen RobinsonKay RossJoseph & Patricia RutlinLisa L. SchlenkAllan R. SilversteinJoy SnyderBeatriz Cordova StaberJames N. TrimbleKarl K. & Roxanne TurekianGordon & Marlene TurnbullEdward WeisWei-Yi Yang

Becoming a Yale School of Music Patron is a wonderful way to support our performance programs. We offer benefits to our patrons that range from preferred seating to invitations for the School’s academic convocation.

To find out more about becoming a Yale School of Music Patron, visit http://music.yale.edu. You can also add a contribution to your ticket purchase to any of the Yale School of Music concerts. Concert Office · 203 432-4158

Page 12: Yale Philharmonia: May 1, 2009

YALE SCHOOL OF MUSICRobert Blocker, Dean

203 432 4158 Box Office

[email protected] Us

CONCERTS & MEDIA

Vincent Oneppo Director

Dana AstmannAssistant Director

Monica OngDesign Manager

Tara DemingOperations Manager

Christopher MelilloAssistant Operations Manager

Danielle HellerBox Office Coordinator

UPCOMING

VIOLISTS FROM BEIJINGMay 2 / Sat / 7 pm

CONCERTI GROSSI OF THE BAROQUEMay 3 / Sun / 4 pm

COMMENCEMENT CONCERTMay 24 / Sun / 4 pm

TWILIGHT BAND CONCERTMay 24 / Sun / 7 pm

Sudler Recital Hall in William L. Harkness HallAn all-viola program performed by Professor Wing Ho and his students Jia Guo, Keju Wang, Cong Wu, and Feifei Yuan. Music of Bach, Reger, Hindemith, Stamitz, Q.W. Guan, and Prokofiev. Free admission.

Sprague Memorial HallBaroque violinist Robert Mealy, professor of early music, will lead the students of his historical performance practice class in an orchestral program of festive concerti grossi by Handel, Bach, and Vivaldi, including excerpts from Handel's Water Music. Free admission.This concert will be streamed live at music.yale.edu/media.

Sprague Memorial HallFeaturing outstanding performers from the Class of 2009. Free admission.

Old CampusYale Concert Band performs a twilight commencement concert. Thomas C. Duffy, director.

Kelly Yamaguchi-ScanlonAccomodations & Travel

Brian DaleyPiano Curator

William HaroldPiano Curator

RECORDING STUDIO

Eugene KimballDirector / Recording Engineer

Jason RobinsAssistant Recording Engineer

For a complete listing of all our concerts: music.yale.edu