EMORY UNIVERSITY SYMPHONY ORCHESTRA

Transcription

1 MUSIC EMORY at EMORY UNIVERSITY SYMPHONY ORCHESTRA PAUL BHASIN, CONDUCTOR FEATURING ELIZABETH SUN, PIANO WINNER OF THE EMORY CONCERTO AND ARIA COMPETITION SATURDAY, MARCH 7, 2019, 8:00 P.M. EMERSON CONCERT HALL SCHWARTZ CENTER FOR PERFORMING ARTS

2 PROGRAM Concerto for Piano and Orchestra Sergei Rachmaninoff No. 1 in F-sharp Minor, op. 1 ( ) I. Vivace Elizabeth Sun, piano Winner of the Emory Concerto and Aria Competition Symphony No. 8 in G Major, op. 88 Antonín Dvořák I. Allegro con brio ( ) II. Adagio III. Allegretto grazioso IV. Allegro, ma non troppo 2

3 PROGRAM NOTES Concerto for Piano and Orchestra No. 1 in F-sharp Minor, op. 1 Sergei Rachmaninoff was 16 and a student at the Moscow Conservatory when, in November 1889, he began to sketch a Concerto in C Minor for Piano and Orchestra. Rachmaninoff never finished that work. But on March 26, 1891, Rachmaninoff wrote to his friend Natalya Skalon: I am now composing a piano concerto. Two movements are already written... I shall probably finish the whole concerto by the summer, and then in the summer orchestrate it. Rachmaninoff completed his First Piano Concerto, in F-sharp Minor, on July 6, In March 1892, at the Small Hall of the Nobility in the Moscow Conservatory, Rachmaninoff was the soloist in a student concert performance of the opening movement of his F-sharp Minor Concerto. One critic noted that while there was not yet of course any individuality...there was taste, tension, youthful sincerity, and obvious knowledge; already there is much promise. As early as 1908, Rachmaninoff contemplated revising his First Piano Concerto. However, several more years elapsed before Rachmaninoff finally turned his attention to the task. The outbreak of the Russian Revolution convinced Rachmaninoff that he would soon be forced to leave his homeland: Already from the very beginning of the revolution I realized that it was mishandled. Already by March of 1917 I had decided to leave Russia, but was unable to carry out my plan, for Europe was still fighting and one could not cross the frontier. Rachmaninoff was still in Russia when the violent October Revolution exploded. It was in the midst of this turmoil that he penned the extensive revisions to his First Piano Concerto. In revising the First Concerto, Rachmaninoff sought to lighten the textures of the writing for both the orchestra and solo piano. The most extensive revisions occurred in the Concerto s final movement. Rachmaninoff was quite pleased with the results. As he informed a friend: I have rewritten my First Concerto; it is really good now. All the youthful freshness is there, and yet it plays itself so much more easily. Still, the F-sharp concerto failed to win the adulation of its more famous successors. Rachmaninoff lamented: When I tell them in America that I will play the First Concerto, they do not protest, but I can see by their faces that they would prefer the Second or Third. Still, Rachmaninoff s First Piano Concerto deserves more than an occasional hearing. In addition to the youthful freshness noted by the composer, the work offers the beguiling synthesis of melodic inspiration and thrilling virtuoso display that would reach its apex in the great Second and Third piano concertos. I. Vivace The concerto opens with a bold orchestral fanfare and grand flourish by the soloist. The violins introduce the espressivo principal melody, which the soloist repeats in decorated fashion. A lively scherzando episode leads to the beautiful cantabile second theme, again first presented by the violins, to gossamer counterpoint by the soloist. After an extended development, the soloist, accompanied by the lower strings, inaugurates the recapitulation section. A brilliant solo cadenza recalls the opening flourish and the Vivace s principal themes. The movement concludes with a brief, dazzling coda. 3

4 Symphony No. 8 in G Major, op. 88 While working on his Piano Quartet, op. 87, Czech composer Antonín Dvořák told his friend, Alois Göbl: It s going unexpectedly easily and the melodies simply pour out of me. On August 26, 1889, one week after finishing the Piano Quartet, Dvořák began work on his Symphony in G Major. It appears a similar level of inspiration attended the new orchestral work. Dvořák began to note ideas for the symphony, and started the composition sketch on September 6. Dvořák completed the sketches for all four movements by September 23, and finished the orchestration on November 8. On February 2, 1890, Dvořák conducted the Prague National Theater Orchestra in the premiere of his Symphony No. 8. A few months later, the composer again presented the symphony in honor of his election as member of the Franz Josef Academy for Science, Literature, and Art in Prague. On June 16, 1891, the University of Cambridge bestowed an honorary doctorate of music upon Dvořák, who again offered his Symphony No. 8 in commemoration of the event. As with most of Dvořák s musical creations, the Symphony No. 8 in G Major reflects the influence of Czech folk melodies and rhythms. It is also in many ways highly innovative, suggesting new possibilities for traditional symphonic forms. According to Dvořák biographer Otakar Sourek, the composer (by his own admission) consciously strove to create a work different from his other symphonies, with individual thoughts worked out in a new way. This, Dvořák achieved in the context of energetic and optimistic music, bursting with unforgettable melodies. I. Allegro con brio The symphony begins with a somber introduction, led by the winds and cellos. This music serves as a unifying force throughout the movement, returning as a bridge to the development and recapitulation of the principal themes. Out of the shadows emerges the sprightly main theme, first played by the flute and soon, triumphantly, by the full orchestra. The flutes and clarinets, over triplet string accompaniment, play the minor-key second theme The woodwinds then introduce a pianissimo, chorale-like melody, played with great force by the entire orchestra. A stormy, contrapuntal development leads to the English horn s recapitulation of the initial theme. The other themes return in sequence. The movement concludes with a brief, dramatic coda, prominently featuring the brass and timpani. II. Adagio The slow-tempo movement, in rather free form, presents a series of episodes essentially based on upon the opening four-note motif, consisting of rising 16th-note triplets and a quarter note. Especially captivating is an extended episode in C major with a shimmering espressivo violin solo. The Adagio explores a variety of moods and colors, finally resolving to a peaceful close. III. Allegretto grazioso Instead of the scherzo then in fashion, the third movement is in the character of a melancholy waltz. The first violins sing the principal melody, closely related to its counterpart in the Adagio. The lilting, major-key trio section prominently features the woodwinds. The traditional repeat of the waltz leads to an unexpectedly joyful coda (Molto vivace) in 2/4 time, serving as a bridge to the finale. 4

5 IV. Allegro, ma non troppo A trumpet call heralds the opening of the final movement. The cellos introduce the theme that serves as the basis for a series of diverse and often thrilling variations. In the midst of the variations, the trumpet-call motif returns. A series of lyrical variations finally yields to a jubilant coda (Tempo I), as the Symphony No. 8 in G Major dashes to a rousing close. ELIZABETH SUN, PIANO Program notes by Ken Meltzer, unless otherwise indicated. Elizabeth Sun is a second-year student at Emory pursuing a double major in biology and piano performance. Originally from Rolling Hills Estates, California, Sun has been studying and performing piano for 14 years. She has participated in numerous competitions and music festivals throughout the United States, including the Bowdoin International Music Festival, International Institute for Young Musicians, and Liszt International Piano Competition. Sun actively performs solo and collaborative works in various events on Emory s campus and in the surrounding community. Her previous instructors include Hyeja Ganahl from ages 5 12 and Bernadene Blaha of the USC Thornton School of Music from ages At Emory, she studies with Elena Cholakova and William Ransom. Sun studies biology on the pre-medical track and conducts clinical research with Emory School of Medicine s Division of Pediatric Nephrology and ecological research with monarch butterflies in the De Roode Lab. She enjoys volunteering in the Atlanta community as a pianist and patient assistant with the Winship Cancer Institute and as a volunteer with Trees Atlanta. She is a recipient of the Emory Opportunity Award and the Emory Chris A. Yannopoulous Scholarship, which are merit-based scholarships that support her university tuition. In her free time, Sun enjoys hiking, eating, and exploring the outdoors. PAUL BHASIN, CONDUCTOR Paul Bhasin serves on the faculty of Emory University as director of wind studies and interim director of orchestral studies. In this capacity, he conducts the Emory University Symphony Orchestra, Emory Youth Symphony Orchestra, and Emory Wind Ensemble, and he teaches conducting. Praised for his crisp, clear conducting and highly expressive interpretations, Bhasin has led a variety of university, youth, and professional ensembles throughout North America and abroad including recent performances at the Kennedy Center in Washington, D.C., and throughout the People s Republic of China. Bhasin s most recent guest engagements include appearances with the Virginia Symphony Orchestra (including live radio broadcasts of subscription concerts), American Youth Philharmonic, Williamsburg Symphony, New Jersey Youth 5

6 Symphony, and at Interlochen Arts Academy. He has also led performances as a guest conductor with members of the Richmond Symphony, National Symphony, Baltimore Symphony, and Kennedy Center Opera Orchestra. Ensembles under his direction have collaborated with soloists from the San Francisco Symphony, Atlanta Symphony, and Richmond Symphony. He has led honor orchestras and served as a guest orchestral clinician throughout the United States, and presented at national conferences including the Midwest Orchestra Clinic and the National Music Teachers Association Conference. Bhasin is an accomplished orchestral trumpeter, having performed and recorded with the Virginia Symphony and Opera, Columbus (Ohio) Symphony, New World Symphony, the Civic Orchestra of Chicago, and at the music festivals of Aspen, Tanglewood, and Ravinia. With these institutions, he has performed under the batons of Michael Tilson Thomas, James Conlon, James DePriest, Leonard Slatkin, Andreas Delfs, and Gustav Meier, and he has participated in the conductor training program at Aspen under David Zinman and Murry Sidlin. A committed trumpet teacher, his students have attended prestigious conservatories and music schools and won first prize at major competitions including the National Trumpet Competition. He has been featured as a soloist on National Public Radio, Detroit PBS-TV, the International Computer Music Conference, at the Chautauqua Music Festival, and at the International Dvořák Festival (Prague, Czech Republic). Bhasin has recorded as trumpeter and conductor for both the Centaur and Interscope record labels, and his 2015 Centaur Records release features the music of Brian Hulse and is performed by principal soloists from the Richmond and Virginia Symphonies. A forthcoming CD project with Centaur will feature Atlanta Symphony Orchestra principals as concert soloist with Emory student musicians. Bhasin s transcriptions and arrangements are published by Balquhidder Music and have been performed and commissioned in the United States and abroad by the St. Louis Opera Theater, Grand Tetons Festival Orchestra, La Unió Musical l Horta de Sant Marcel lí (Valencia, Spain), and the Washington Symphonic Brass (Washington, D.C.). In 2015, Bhasin composed and conducted the orchestral score to 9:23 Films motion picture, Hogtown (award winner at the Berlin, Los Angeles and Nashville International Black Film Festivals, and Cannes Festival Marché du Film). Michael Phillips of the Chicago Sun-Times writes that the film was... scored beautifully by composer Paul Bhasin... better than the entirety of the last few features I ve seen, period. In 2016, reviewer Ben Kenigsberg of the New York Times named the film a Critic s Pick and one of the Top 10 Films of Bhasin s previous appointments include positions at the University of Wisconsin Green Bay, Triton College, and the College of William and Mary. He received his musical education from the University of Wisconsin Madison, Northwestern University, and the University of Michigan. 6

7 EMORY UNIVERSITY SYMPHONY ORCHESTRA The Emory University Symphony Orchestra (EUSO) presents an annual season of dynamic performances with major works from the established orchestral repertoire and new works of the 21st century. EUSO also combines forces regularly with Emory s University Chorus to feature masterworks of the rich symphonic-choral tradition. In addition to collaborations with faculty and other distinguished guest artists, students have the opportunity to appear as soloists with the orchestra as winners of the annual Concerto and Aria Competition. True to the spirit of the liberal arts environment, the large-scale symphony orchestra draws its membership from not only the Department of Music, but from all disciplines across campus. Largely populated by music double majors, the orchestra also welcomes the participation of qualified non-majors. EUSO is featured regularly on Atlanta s National Public Radio affiliate with broadcast performances including Beethoven s Symphony No. 9, Holst s The Planets, Shostakovich s Symphonies Nos. 5 and 10, Tchaikovsky s Symphonies Nos. 4 and 6, and Philip Glass s Cello Concerto No. 2 with acclaimed cellist, Matt Haimovitz. The Joel M. Felner, MD, and Edward Goodwin Scruggs Chairs The two named chairs, concertmaster and principal second violin, are in recognition of instruments given to the EUSO in the value of $350,000. Joel M. Felner is associate dean at the Emory University School of Medicine; Edward Goodwin Scruggs was for 37 years a tenured member of the Atlanta Symphony Orchestra. The lives of both men represent distinguished careers and great philanthropy as patrons of music and friends of Emory. The concertmaster plays a 1687 Grancino and the principal second an 1870 Scarampella. FLUTE AND PICCOLO Claire Mahon Norcross, GA Business 8 Olivia Stam Cumberland Foreside, ME Music/Psychology ; Evangelia Diplas Chatham, NJ Music/Psychology Sarah Morrissey Fairview, NC Business 4 OBOE AND ENGLISH HORN Ria Brown Houston TX Biology H Jane Farrell Worthington, OH Undecided Helena Haas Friendswood, TX NBB/Music 8 CLARINET AND BASS CLARINET Kelsey Newman Martinsville, VA Music/Business 8 Lucy Mangalapalli Chicago, IL Sociology, Biology 8 Esther Ro Sugar Hill, GA Music/Psychology 4 BASSOON Sohil Shah Edison, NJ Music/Political Science H Allison Rose Marietta, GA Quantitative Sciences/Music 8 Caitlin MacDonald Scotland, UK Emory Bobby Jones Scholar 7

8 EMORY UNIVERSITY SYMPHONY ORCHESTRA HORN Samuel Edwards Palm Beach, FL Music/Philosophy 8 Owain Thorogood Havertown, PA Business Danielle Staffin Bridgewater, NJ Business Jang Soo Lee Bryan, TX Chemistry/Music TRUMPET Jacob Germany Alpharetta, GA Music/Chemistry 8 Tony Kasper Huntington, NY Music/Environmental Studies TROMBONE Max Inman Cary, NC Music/Chemistry 8 Ethan Feldman Minneapolis, MN Political Science 4 BASS TROMBONE Graham Crain Maryville, TN Undecided H TUBA Sean Delaney Winchester, MA Music/Business 8 TIMPANI Christopher Prugh Swarthmore, PA Film Studies/Biology H VIOLIN I Claire Roesler Western Springs, IL Music/Chemistry Joel M. Felner MD Concertmaster Chair Patricia Lin Atlanta, GA Music/Chemistry Assistant Concertmaster Hyerin Yoon Great Neck, NY Music/Chemistry Amy Zhang Johns Creek, GA Music/Human Health Caroline Sikuta Naples, FL Music/Economics 8 Kathy Li Lilburn, GA Music/Biology Judy Oh Auburn, AL Music/Biology Lesley Mun Vernon Hills, IL Music/Biology John Park Brentwood, NY Biology Meg Winata Houston, TX Music/Nursing 14C Haley Snyder Atlanta, GA Jeffrey You Atlanta, GA VIOLIN II Catherine MacGregor Marietta, GA Music Edward Goodwin Scruggs Principal Second Chair Trevor Chun Alpharetta, GA Music/Business H Assistant Principal Alec Reinhardt Decatur, GA Music/Applied Math Albert Liu St. Louis, MO Undecided Ben Furman Atlanta, GA NBB Sizhe (Alex) Ren Changsha, Hunan, China Business/Computer Science David Chen East Lyme, CT Undecided Franck Daryl Nana Tangpi Reminderville, OH Music/Business Carol Hou Cherry Hill, NJ Applied Math/Quantitative Sciences H Gloria Jung Centennial, CO Undecided Ellie Coe Roswell, GA Russian Studies Cameron White Chicago, IL Music Jack Wang New Orleans, LA Undecided 8

9 EMORY UNIVERSITY SYMPHONY ORCHESTRA VIOLA Emma DeJarnette Snellville, GA Music/Quantitative Sciences 8 Principal Zola Berger-Schmitz Venice, CA Music/Political Science Assistant Principal Ji Won Lee Princeton, NJ Music/Chemistry Duncan Tam Hamden, CT Music Wilson Hsu Chesnut Hill, MA Business H Alex Sabol Bethesda, MD Music/NBB Jabin Sohng Las Vegas, NV Music/Biology Julia Borthwick Atlanta, GA Psychology Sobin (Sophie) Ahn Seoul, Korea Music Lucas Mock Durham, NC Undecided Chris Breuer Aurora, IL Undecided CELLO Anna Bing Atlanta, GA Music/Spanish Literature Principal Molly Ball Virginia Beach, VA Music/Philosophy H Assistant Principal Eric Yang Houston, TX Music/Mathematics Sean Parker Baton Rouge, LA Music/Biology Sirian Yi Suwanee, GA Music/Psychology Claire Lee Suwanee, GA Music/International Affairs Hwanwook Seong Atlanta, GA Undecided Brian Le Richardson, TX Music/Business Haley Roesler Western Springs, IL Music/Quantitative Sciences Chris Fenger Greensboro, NC Music0 Jame Kanef Lexington, MA Political Science Amanda Ramirez Atlanta, GA Music/Biology H BASS Dashiell Wakeman Atlanta, GA Mathematics Principal Hannah Perron Princeton Junction, NJ Undecided 8 Max Heeden Atlanta, GA Undecided Zijian Tan Suwanee, GA Music/Biology Alex Petralia Atlanta, GA Kait McGann-Ludwin Palm City, FL Business 17B NBB: Neuroscience and Behavioral Biology Emory Youth Symphony Orchestra Alumni 8 Woodruff/Music Woodruff Scholar ; Emory Scholar H Edward Goodwin Scruggs Lesson Scholarship 4 Emory Friends of Music Scholarship for Applied Lessons 9

10 EMORY STRING, WIND, AND PERCUSSION FACULTY Laura Ardan, clarinet Marc Boehm, trombone Emily Brebach, oboe Jay Christy, violin Jason Eklund, horn Elizabeth Fayette, violin 4 Karen Freer, cello Adam Frey, euphonium Anthony Georgeson, bassoon Roee Harran, cello Yinzi Kong, viola 4 Michael Kurth, bass Michael Moore, tuba Ed Nicholson, trombone Gary Paulo, saxophone Scott Pollard, percussion Jaclyn Rainey, horn Elisabeth Remy, harp Alexandra Shatalova Prior, oboe Jessica Sherer, flute Christina Smith, flute Stuart Stephenson, trumpet Amy Trotz, horn H Shelly Unger, bassoon Guang Wang, cello 4 Jessica Wu, violin 4 Mark Yancich, percussion James Zellers, flute Atlanta Symphony Orchestra Atlanta Opera Orchestra H Atlanta Ballet Orchestra 4 Vega String Quartet DEPARTMENT OF MUSIC ADMINISTRATION Kevin Karnes, chair Kristin Wendland, director of undergraduate studies Lynn Bertrand, director of graduate studies Martha Shockey, senior secretary Kathy Summers, academic department administrator Alexandra Shatalova Prior, program coordinator Julia Hudgins, academic services coordinator 10

11 MUSIC AT EMORY The Department of Music at Emory University provides an exciting and innovative environment for developing knowledge and skills as a performer, composer, and scholar. Led by a faculty of more than 60 nationally and internationally recognized artists and researchers, our undergraduate and graduate students experience a rich diversity of performance and academic opportunities. Undergraduate students in our department earn a BA in music with a specialization in performance, composition, or research, many of whom simultaneously earn a second degree in another department. True to the spirit of Emory, a liberal arts college in the heart of a research university, our faculty and ensembles also welcome the participation of non-major students from across the Emory campus. Become a part of Music at Emory by giving to the Friends of Music. Your gift provides crucial support to all of our activities. To learn more, visit our website at music.emory.edu or call

12 UPCOMING MUSIC EVENTS Go to music.emory.edu to view the complete list of upcoming music events. Ticket prices are listed in the following order: Full price/emory student price (unless otherwise noted as the price for all students). For more information contact the Arts at Emory Box Office at , or visit arts.emory.edu. Sunday, March 10, 4:00 p.m.,the Atlanta Jewish Music Festival Concert, ECMSA: Emerson Series, Emory Hillel, free Saturday, March 16, 8:00 p.m., Spirit Songs, Atlanta Master Chorale, Schwartz Center, Emerson Concert Hall, $30/$10 all students Sunday, March 17, 4:00 p.m., Bach Birthday Recital, Schwartz Center, Emerson Concert Hall, free Wednesday, March 20, 8:00 p.m., Elizabeth Fayette, violin, artist affiliate recital, Schwartz Center, Emerson Concert Hall, free Friday, March 22, 8:00 p.m., Eric Owens and Lawrence Brownlee, Candler Concert Series, Schwartz Center, Emerson Concert Hall, $60/$10 Thursday, March 28, 7:00 p.m., Barenaked Voices, Sixteenth Annual Student A Cappella Celebration, Schwartz Center, Emerson Concert Hall, all tickets $5 Friday, March 29, noon, Zuill Bailey, cello, ECMSA: Cooke Noontime Series, Schwartz Artist-in-Residence Program, Michael C. Carlos Museum, free Saturday, March 30, 8:00 p.m., Zuill Bailey with the Vega String Quartet, ECMSA: Emerson Series, Schwartz Artist-in-Residence Program, Schwartz Center, Emerson Concert Hall, free Tuesday, April 2, 8:00 p.m., Emory Jazz Combos, Schwartz Center, Emerson Concert Hall, free Thursday, April 4, 6:00 p.m., Jazz on the Green, Patterson Green, free Saturday, April 6, 8:00 p.m., Emory University Chorus and Emory Wind Ensemble, Schwartz Center, Emerson Concert Hall, free Sunday, April 7, 4:00 p.m., Atlanta s Young Artists, ECMSA: Family Series, Michael C. Carlos Museum, free Sunday, April 7, 7:00 p.m., Emory Collaborative Piano Concert, Schwartz Center, Emerson Concert Hall, free Tuesday, April 9, 8:00 p.m., Clarinet Meets Guitar Duo, Jeffrey Brooks, clarinet, artist affiliate recital, Schwartz Center, Emerson Concert Hall, free 12

13 Friday, April 12, noon, Inna Faliks, piano, ECMSA: Cooke Noontime Series, Michael C. Carlos Museum, free Friday, April 12, 8:00 p.m., Emily Brebach, English horn, artist affiliate recital, Schwartz Center, Emerson Concert Hall, free Sunday, April 14, 4:00 p.m., Songs of the Birds, ECMSA: Emerson Series, Michael C. Carlos Museum, free Sunday, April 14, 7:00 p.m., Emory Chamber Ensembles, Schwartz Center, Emerson Concert Hall, free Thursday, April 18, 6:00 p.m., Jazz on the Green, Patterson Green, free Saturday, April 20, 8:00 p.m., The Vega String Quartet, ECMSA: Emerson Series, Schwartz Center, Emerson Concert Hall, free Tuesday, April 23, 8:00 p.m., Emory Big Band, Schwartz Center, Emerson Concert Hall, free Friday, April 26, 8:00 p.m., Emory University Symphony Orchestra, Schwartz Center, Emerson Concert Hall, free Saturday, April 27, 8:00 p.m., StageWorks 2019, Performing Arts Studio, 1804 N. Decatur Road, free Sunday, April 28, 7:00 p.m., Emory Concert Choir, Schwartz Center, Emerson Concert Hall, free Friday, May 3, noon, Emory Voice Faculty, ECMSA: Cooke Noontime Series, Michael C. Carlos Museum, free Arts at Emory Box Office/Audience Information arts.emory.edu IN CONSIDERATION Please turn off all electronic devices. PHOTOGRAPHS AND RECORDINGS Not permitted without advance permission. COUGH DROPS Available in the lobby. USHERS Members of Music at Emory Volunteers and Alpha Phi Omega, a national service and social fraternity. Call for ushering opportunities. EVENT AND PROGRAM INFORMATION Available online at arts.emory.edu. ACCESSIBILITY The Schwartz Center for Performing Arts is committed to providing performances and facilities accessible to all. Please direct accommodation requests to the Arts at Emory Box Office at , or by at boxoffice@emory.edu. For seating accommodations, please contact us at least 24 hours in advance of the event. COVER PHOTO Trevor Chun Photography. TREE LIGHTS AND EXTERIOR ARCHITECTURAL BUILDING LIGHTS Made possible by a generous gift from Donna and Marvin Schwartz. 13