Ensemble 212. Ensemble 212. Saturday October 20, :00 PM Good Shepherd-Faith Presbyterian Church At Lincoln Center. Program

Transcription

1 Season Ensemble Concert, Tuesday December 4, :00 PM St. Peter s Church (619 Lexington Ave at 54th St) Ravel Introduction and Allegro M. Cohen I Remember (based upon the diary of Anne Frank) R. Strauss Serenade in E Flat Major, Op. 7 R. Strauss Suite in B Flat Major, Op. 4 Orchestra Concert, Sunday February 24, :00 PM Purcell Incidental Music from Abdelazer or The Moor s Revenge J. S. Bach Concerto for Oboe & Violin in C Minor, BWV 1060 Ryan Walsh, Oboe; Audrey Lo, Violin J. S. Bach Violin Concerto No. 1 in A Minor, BWV 1041 Marc Levine, Violin & Director J. S. Bach Harpsichord Concerto No. 5 in F Minor, BWV 1056 Tami Morse, Harpsichord & Director Handel The Arrival of the Queen of Sheba from Solomon Handel selected arias 1 additional piece TBA Orchestra Concert, Sunday April 14, :00 PM Mozart Overture to Don Giovanni Wagner Träume for Violin & Orchestra, Violinist TBA Saint-Saëns Violoncello Concerto No. 1 in A Minor, Op. 33 Victoria Bass, Violoncello Mendelssohn Capricio brilliante, Op. 22 (featuring Young Artist Competition Winner) Mendelssohn Symphony No. 4 in A Major, Op. 90 Italian (1st version) Chamber Music Concert, Friday May 8, :00 PM Second Presbyterian Church (6 W 96th St at Central Park West) Program TBA Subject to change. Please visit for the latest updates. Saturday October 20, :00 PM At Lincoln Center Program Prelude to La Traviata, Act I Giuseppe Verdi ( ) Concerto for Piano, Violin, Violoncello & Ludwig van Beethoven Orchestra in C Major, Op. 56 ( ) Allegro Largo- Rondo alla Polacca The Stella Trio Jannina Barefield, Violin; Laura Metcalf, Violoncello; Monica Chung, Piano * * * I N T E R M I S S I O N * * * Introduction et Rondo Capriccioso, Op. 28 Camille Saint-Saëns ( ) Caroline Suh, Violin Winner of the 2007 Young Artist Competition for Violin Symphony No. 4 in B Flat Major, Op. 60 Ludwig van Beethoven Adagio - Allegro vivace Adagio Allegro molto e vivace - Trio: Un poco meno allegro Allegro ma non troppo Yoon Jae Lee, Conductor Piano courtesy of Yamaha Please switch off your cell phones and other electronic devices.

2 Yoon Jae Lee, Artistic Director Flute Violin I Anthea Kechley+ Audrey Lo*, concertmistress Jessica Willis* Maria Brunner Miyun Chung* Oboe Karen DiYanni Ryan Walsh* Hee-Guen Song* Jen Scott Violin II Clarinet Masha Lankovsky, principal Chiu-Yuan Chen* Jannina Barefield* Mara Plotkin* David Bousso Maria Vittoria Crotti Bassoon Muneyoshi Takahashi Joshua Davis Sasha Gee Enegren* Viola Victor Lowrie, principal Horn Chris Atanasiu Anna Dodd David Fallo* Caia LaCour Jennifer Herman Trumpet Violoncello Scott Daugherty Dan Delaney*, principal Micah Killion Victoria Bass* Margalit Cantor Timpani Laura Metcalf* Daniel Riggs Bass Murat Karaca*, principal Man Wai Che* + Saint-Saëns only * denotes core members Benefactor ($1,000 - $4,999) Mitsosa Inc., Anonymous Sponsor ($500 - $999) Supporters of Season DeArch LLC, Hai Won Chang, George Rockman, Esq. Friend ($100 - $249) Won Bok Hyun, Chung Shik Kim, M.D., Ki Duck Shin, M.D., Hanhi Yoon Current as of Goodwill Ambassadors of A special thank you to Sam Byun, Hai Won Chang, Stephen Jablonsky, William Sit, Jonathan Strasser, George Rockman, Esq. for assisting in the promotion of s activities. If you would like to make a contribution, please send a check payable to: 301 W 45th St #7J New York, NY is a 501(c)(3) not-for-profit organization. Contributions to are tax-deductible to the full extent of the law. Your financial support is greatly appreciated! Volunteers Wanted! is looking for volunteers to help our organization grow. If you are interested in volunteering, please contact us at ensemble212@gmail.com or

3 solos for the winds. Dramatic contrasts juxtapose the lyrical cantabile theme and the sharp dotted rhythms which serve as the unifying motive throughout the movement. Beethoven employs a five part scherzo & trio in the 3rd movement for the first time instead of the usual three. The energetic scherzo sections are contrasted by the trio sections which are more subdued and linear. After the final abbreviated return of the Scherzo, the movement concludes with a crescendo in the horns just like the 2nd movement. For much of the finale, the 1st violins act as soloists with their playful melodies and driving 16th notes. In a fitting conclusion to the symphony, Beethoven pays homage to Haydn by humorously drawing out the theme before the bassoons and lower strings initiate a dash to the final cadence. The symphony was first performed at a private concert in the Lobkowitz Palace in Vienna in March It is dedicated to Count Franz von Oppersdorff, who recognized Beethoven s growing reputation as a composer and commissioned the fifth symphony soon after. -Yoon Jae Lee Instrumentation: 1 flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. would like to thank the following individuals and organizations: Chen Chu Jenny Hwang Kyung Hun Kim Il Chun & Sook Hee Lee Mielle Lee Audrey Lo Boris Rasin The Bloomingdale School of Music French Woods Festival of the Performing Arts InterSchool Orchestras of New York Meet the Artists The Stella Trio (Jannina Barefield, violin; Laura Metcalf, cello; Monica Chung, piano) was formed by three students at the Mannes College of Music in New York City. After having played together in various configurations in venues such as the French Consulate, the Queen Sofia Spanish Institute and the Union Club in New York and the Chateau de Fontainebleau in France, the group came together as a trio in the fall of Under the guidance of violinist Todd Phillips of the Orion string Quartet, the Stella Trio had its debut in February 2006 at the Lang Center at New School University playing Shostakovich s Trio No. 2. They gave numerous other performances during the spring of 2006, culminating in a recital on the faculty concert series at Greenwich House Music School. In June 2006, they worked with renowned musicians such as Pamela Frank, Colin Carr, Robert McDonald, and others at the Mannes Beethoven Institute. As winners of the Artists International Special Presentation auditions, they gave a formal debut recital at Weill Recital Hall at Carnegie Hall in November 2006, and have been invited to perform a concert on Artist International s Distinguished Alumni Series next season. Other highlights of the current season include a concert on Trinity Church Wall Street s Concerts at One series and a collaboration with the South Oxford Six composer collective. Stella was a featured artist at Detroit s Orchestra Hall for the James Tatum Foundation 20th Anniversary Gala this past April. They are dedicated to performing both standard repertoire and less-familiar works in a way that entices and engages modern audiences. Caroline Suh is a twelve-year-old violinist from New York who began her musical study at the age of three. She has been studying music at the Manhattan School of Music in the Precollege division for the past five years where she has served as a concertmistress in two of its four orchestras. Last year she was first place winner of its Precollege Concerto Competition in her age category which led to an orchestral performance of Pablo de Sarasate s Zigeunerweisen. Caroline has also placed first in the C.W.

4 Post Chamber Music Festival Concerto Competition on Long Island. She has participated in master classes with violinist Giora Schmidt as part of the Long Island Philharmonic Master Class series and with violist Lawrence Dutton of the Emerson String Quartet at the C.W. Post Chamber Music Festival. In New York, Caroline has performed at the Tribeca Performing Arts Center, Tilles Center, and Carnegie Hall. Caroline made her orchestral debut as guest soloist of the North Shore Symphony Orchestra at the age of ten where she received a standing ovation for her rendition of Mendelssohn s Violin Concerto. Caroline plays on a violin made by Mr. Clifford Roberts of Philadelphia, Pennsylvania. She currently studies under the guidance of Mrs. Julie Artzt Becker. Yoon Jae Lee enjoys a multi-faceted career as a conductor, arranger, and pianist. He is the Founder & Artistic Director of, Resident Conductor at the Strings International Music Festival, and on faculty at the C.W. Post Chamber Music Festival at Long Island University. As guest conductor, he has conducted the Mozarteum Orchester Salzburg, the Bruckner Orchester Linz, and the Espresso Opera in a production of Verdi s Otello. Mr. Lee has made highly acclaimed chamber versions of Debussy s Prélude à l après-midi d un faune and Mahler s Symphony No. 4. Following the September 11 tragedy, he orchestrated the theme song New York, New York for a special benefit concert for St. Paul s Chapel in lower Manhattan at Salzburg s Cathedral (Dom). Previously, Mr. Lee served as Associate Conductor of Youth Symphony for United Nations, Assistant Conductor to the Salzburger Kammerphilharmonie, and the New Amsterdam Symphony Orchestra. A native of New York City, Mr. Lee began his musical studies on the violin at age 5 and started the piano a year later. At age 17, he began conducting and just 2 years later, participated in a masterclass with Kurt Masur at Alice Tully Hall. He received his degrees in piano and conducting from the Mannes College of Music, graduating as the recipient of the N.T. Milani Memorial Conducting Fellowship and the Peter M. Gross Fund. Mr. Lee also attended the Universität Mozarteum Salzburg in Austria where he studied with Dennis Russell Davies. Mr. Lee has participated in many festivals and workshops such as the Donald Thulean workshops held by the American Symphony Orchestra League, Tafelmusik Baroque Summer Institute, Bowdoin International Music Festival, and the Aspen Music Festival s American Academy of Conducting, where he studied with David Zinman, Murry Sidlin, and conducted a staged performance of Benjamin Britten s, The Turn of the Screw. Noted conductors he has studied with include Samuel Wong, David Hayes, and Michael Charry. Conservatoire when he was 12, winning that institution s annual first prize in Saint-Saëns wrote his Violin Concerto in A Major (1859) for Sarasate when the young violinist was only 15 years old. Sarasate was 19 when Saint-Saëns wrote the Introduction and Rondo Capriccioso for him in 1863, and the technical challenges of the work attest to the violinist s prowess. Saint-Saëns did not publish the piece until 1870, but Sarasate frequently programmed it in his concert engagements throughout Europe and the United States, making it popular enough that both Georges Bizet and Claude Debussy made arrangements of it (for violin and piano, and for four-hand piano, respectively). The slow introduction, marked Andante malinconico ( melancholy ), becomes gradually more animated and ends in a mini-cadenza that opens the rondo, Allegro ma non troppo. The syncopated theme stated by the violin has a distinct Spanish flavor, and features huge leaps and brilliant arpeggios. The orchestra opens the bridge to a contrasting lyrical theme, con morbidezza ( with tenderness ), played in 2/4 by the soloist over the 6/8 time of the orchestral accompaniment. Even the rondo theme reappears in a more introspective mood, before the orchestra bursts once more into the bridge passage. A solo oboe makes the final statement of the rondo and the violin moves from a short cadenza of triple-stopping to a brilliant coda, undoubtedly written as a showcase for Sarasate s virtuosity. -Barbara Heninger Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, solo violin and strings. BEETHOVEN, Ludwig van Symphony No. 4 in B Flat Major, Op. 60 (1806) Beethoven s Fourth Symphony is often overshadowed by his third and fifth Symphonies. Robert Schumann described the fourth as a slender Grecian maiden between two Nordic giants. Nevertheless, it is a finely crafted work that shows influences of Haydn but is unmistakably Beethoven in character. The symphony begins with an extended slow introduction in the minor that is similar to Haydn s Symphony No. 102 in the same key. A tremendous fortissimo chord followed by several ascending flourishes leads into the Allegro vivace, which sets the mood for the rest of the movement. The second theme features an elegant dialog between the winds and in the development, Beethoven uses timpani rolls to foreshadow the tremendous buildup of tension towards the recapitulation. The structure of the 2nd movement is sonata-form without a development. It is a true masterpiece of lyrical expression that features beautiful

5 Founded in 2004 by conductor Yoon Jae Lee, is an exciting New York-based orchestra comprised of young talented professionals. The orchestra performs music from the Baroque era to the present in a diverse mix of chamber music, ensemble, and orchestra concerts. This allows to vary from an intimate duo to a symphony orchestra of over fifty musicians and allow artistic involvement from the musicians and the conductor in a unique aspect. In chamber music concerts, the artistic decisions emanate from the musicians. In ensemble concerts, both musicians and conductor collaborate on the artistic decisions, and in orchestra concerts, they emanate from the conductor. Promoting and collaborating with musicians based in the greater New York metropolitan area are priorities for. Featured guest soloists have included Daniel Phillips of the Orion String Quartet and pianist Lisa Yui. also holds annual Young Artist Competitions to provide opportunities for students to perform a solo work with the orchestra at a New York venue. Concerts are held about six times a year and usually take place at the at Lincoln Center. Program Notes VERDI, Giuseppe (b. Roncole, Italy, 1813; d. Milan, 1901) La Traviata Prelude to Act I (1853) The following is taken from the score published by Ricordi: The Prelude to La Traviata is a moving miniature portrait of the protagonist, essentially assigned to the diaphanous tone colors of the strings. It opens with a delicate phrase of the 1st and 2nd violins which describes a long descending arc, seeming to prefigure the tragic destiny of Violetta. After this first episode (which recalls certain moods in Lohengrin, an opera then unknown to Verdi), a quotation of the famous melody on the words Amami Alfredo follows which refers to Violetta s great scene in Act II. But here the impassioned anguish of that invocation is lacking: Violetta is presented in all her serenity and in the splendor of her beauty. On the other hand, the repeat of the same melody by the cellos, with a brilliant counter melody in the divisi 1st violins emphasizes the frivolous and worldly nature of the character. Both elements are present in the concluding section which dies out in a whisper. Instrumentation: 1 flute, 1 oboe, 1 clarinet, 2 bassoons, 4 horns (only 2 used in today s performance) and strings. BEETHOVEN, Ludwig van (b. Bonn, Germany, 1770; d. Vienna, Austria 1827) Concerto for Piano, Violin, Violoncello & Orchestra in C Major, Op. 56 ( ) Beethoven had already done most of the work on his Eroica symphony, when he began work on the Triple Concerto. According to Anton Schindler, the solo parts were intended for the Archduke Rudolph, the violinist Carl August Seidler, and the cellist Anton Kraft. The piano part is relatively easy, astoundingly so for a concerto by the mature Beethoven, but the cello part is as taxing as any in the repertory. The Archduke, son of the Emperor Leopold II, became Beethoven s pupil in piano, composition, and theory in 1803, and became his teacher s greatest patron and one of his most constant friends. Here we have a wonderful work of which many speak ill. It is formal, reserved, spacious, and rich in themes, many of them characterized by that certain studied neutrality we find from time to time in Beethoven where procedures and questions of design interest him more than statements and gestures. The hushed, stalking opening is very impressive indeed, and much of what is unfolded during the orchestral introduction reveals what Donald Francis Tovey calls the unapproachable Beethoven. Here, as in the Fourth Piano Concerto and the Violin Concerto, the first solo entrance is exquisitely imagined, the cello giving the first theme, but a breath later than you expect it and with a magical transformation of character. Beethoven presents a slow movement that is short, intense, and is a prelude to the finale. It takes the form of an eloquent, very slow largo, beautifully scored, with an accompaniment confined to muted strings and just a few carefully chosen notes for horns, clarinets, and bassoons. Without break, this leads into a witty polonaise of enchanting elegance, composed in rondo form. -adapted from Michael Steinberg Instrumentation: 1 flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, solo violin, solo cello, solo piano and strings. SAINT-SAËNS, Camille (b. Paris, France, 1835; d. Algiers, Algeria, 1921) Introduction et Rondo Capriccioso, Op. 28 (1863) In the 1850s, Saint-Saëns became acquainted with a fellow musical prodigy, the Spanish violinist Pablo Sarasate ( ). A native of Pamplona, the young Sarasate made his concert debut at 8 and began studying at the Paris

6 Founded in 2004 by conductor Yoon Jae Lee, is an exciting New York-based orchestra comprised of young talented professionals. The orchestra performs music from the Baroque era to the present in a diverse mix of chamber music, ensemble, and orchestra concerts. This allows to vary from an intimate duo to a symphony orchestra of over fifty musicians and allow artistic involvement from the musicians and the conductor in a unique aspect. In chamber music concerts, the artistic decisions emanate from the musicians. In ensemble concerts, both musicians and conductor collaborate on the artistic decisions, and in orchestra concerts, they emanate from the conductor. Promoting and collaborating with musicians based in the greater New York metropolitan area are priorities for. Featured guest soloists have included Daniel Phillips of the Orion String Quartet and pianist Lisa Yui. also holds annual Young Artist Competitions to provide opportunities for students to perform a solo work with the orchestra at a New York venue. Concerts are held about six times a year and usually take place at the at Lincoln Center. Program Notes VERDI, Giuseppe (b. Roncole, Italy, 1813; d. Milan, 1901) La Traviata Prelude to Act I (1853) The following is taken from the score published by Ricordi: The Prelude to La Traviata is a moving miniature portrait of the protagonist, essentially assigned to the diaphanous tone colors of the strings. It opens with a delicate phrase of the 1st and 2nd violins which describes a long descending arc, seeming to prefigure the tragic destiny of Violetta. After this first episode (which recalls certain moods in Lohengrin, an opera then unknown to Verdi), a quotation of the famous melody on the words Amami Alfredo follows which refers to Violetta s great scene in Act II. But here the impassioned anguish of that invocation is lacking: Violetta is presented in all her serenity and in the splendor of her beauty. On the other hand, the repeat of the same melody by the cellos, with a brilliant counter melody in the divisi 1st violins emphasizes the frivolous and worldly nature of the character. Both elements are present in the concluding section which dies out in a whisper. Instrumentation: 1 flute, 1 oboe, 1 clarinet, 2 bassoons, 4 horns (only 2 used in today s performance) and strings. BEETHOVEN, Ludwig van (b. Bonn, Germany, 1770; d. Vienna, Austria 1827) Concerto for Piano, Violin, Violoncello & Orchestra in C Major, Op. 56 ( ) Beethoven had already done most of the work on his Eroica symphony, when he began work on the Triple Concerto. According to Anton Schindler, the solo parts were intended for the Archduke Rudolph, the violinist Carl August Seidler, and the cellist Anton Kraft. The piano part is relatively easy, astoundingly so for a concerto by the mature Beethoven, but the cello part is as taxing as any in the repertory. The Archduke, son of the Emperor Leopold II, became Beethoven s pupil in piano, composition, and theory in 1803, and became his teacher s greatest patron and one of his most constant friends. Here we have a wonderful work of which many speak ill. It is formal, reserved, spacious, and rich in themes, many of them characterized by that certain studied neutrality we find from time to time in Beethoven where procedures and questions of design interest him more than statements and gestures. The hushed, stalking opening is very impressive indeed, and much of what is unfolded during the orchestral introduction reveals what Donald Francis Tovey calls the unapproachable Beethoven. Here, as in the Fourth Piano Concerto and the Violin Concerto, the first solo entrance is exquisitely imagined, the cello giving the first theme, but a breath later than you expect it and with a magical transformation of character. Beethoven presents a slow movement that is short, intense, and is a prelude to the finale. It takes the form of an eloquent, very slow largo, beautifully scored, with an accompaniment confined to muted strings and just a few carefully chosen notes for horns, clarinets, and bassoons. Without break, this leads into a witty polonaise of enchanting elegance, composed in rondo form. -adapted from Michael Steinberg Instrumentation: 1 flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, solo violin, solo cello, solo piano and strings. SAINT-SAËNS, Camille (b. Paris, France, 1835; d. Algiers, Algeria, 1921) Introduction et Rondo Capriccioso, Op. 28 (1863) In the 1850s, Saint-Saëns became acquainted with a fellow musical prodigy, the Spanish violinist Pablo Sarasate ( ). A native of Pamplona, the young Sarasate made his concert debut at 8 and began studying at the Paris