Boston University
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School of Music Boston University Concert Programs
2012-10-01
Boston University Chamber
Orchestra, October 1, 2012
https://hdl.handle.net/2144/30971
Boston University
College of Fine Arts
~chool
of Music
presents
-
Boston University Chamber Orchestra
:
_-
Neal Hampton and Sangwook Cho, conductors
Monday, October 1, 2012
8:00pm
Founded in 1872, the School of Music combines the intimacy and intensity of conservatory training with a broadly based, traditional liberal arts education at the undergraduate level and intense coursework at the graduate level. The school offers degrees in performance, composition and theory, musicology, music education, collaborative piano, historical performance, as well as a certificate program in its Opera Insti.tute, and artist and performance diplomas.
Founded in 1839, Boston University is an internationally recognized private research university with 32,557 students participating in undergraduate, graduate, and professional programs. BU consists of 17 colleges and schools along with a number of multi-disciplinary centers and institutes which are central to the school's research and teaching mission. The Boston University College of Fine Arts was created in 1954 to bring together the School of Music, the School of Theatre, and the School of Visual Arts. The University's vision was to create a community of artists in a conservatory-style school offering professional training in the arts to both undergraduate and graduate studenh complemented by a liberal arts curriculum for undergraduate students. Since those ear.1 days, education at the College of Fine Arts has begun on the BU campus and extended into the city of Boston, a rich center of cultural, artistic, and intellectual activity.
.
Boston University College of Fine Arts
ool of Music
Boston University Chamber Orchestra
October 1, 2012
CFA Concert Hall
8:00pm
Neal Hampton and Sangwook Cho, conductors
The
5
1"concert in the 2012-13 season
Wolfgang Amadeus Mozart
(1756-1791)
Gabriel Faure
(1845-1924)
.
.
.
Ludwig van Beethoven
(1770-1827)
Overture to Der Schauspieldirektor
(The Impresario) K. 486
Neal Hampton, conductor
Pelleas et Melisande: Suite, op. 80
Prelude
Entr'acte: Fileuse (The Spinner) Sicilienne
La Mort de Melisande (The Death of Melisande)
Sangwook Cho, conductor
-Intermission-Symphony No.4 in B-flat Major, op. 60
Adagio-Allegro vivace Adagio
Allegro vivace
Allegro rna non troppo
Neal Hampton, conductor
Born in New York City and raised in Philadelphia, Neal Hampton has been engaged as guest conductor by the Savannah Symphony, The Rhode Island Philharmonic, the Handel and Haydn Society, the Tallahassee Symphony, the Springfield (MA) Symphony, London's Westminster Philharmonic (concert tour to Nova Scotia), and the Vermont Millennium Festival, among others. He has premiered numerous contemporary works and served as music director for theater productions at the Gloucester Stage, the Boston Conservatory, and Brandeis University. Past conducting posts include Music Director of the Genesee (NY) Symphony and the Lowell (MA) Philharmonic, Conductor of the Boston College Symphony Orchestra and Assistant Conductor of the Young Artist's Orchestra at Tanglewood. This is his third engagement with the Boston University Chamber Orchestra. Previously he led the group in a performance of the Stoppard/Previn collaboration, Every Good Boy Deserves Favour, at Town Hall
in New York City.
Boston-area performances of his concert-works include music for the ballet,
Rappaccini's Daughter. Other compositions include incidental music for the
Canadian Premier of Lanford Wilson's Book of Days and a choral arrangement
for the Columbia Pictures release of Mona Lisa Smile. His adaptation of Charles
Dicken's The Chimes was featured at the New Opera and Musical Theater Initiative's Birth of a Musical Festival. His musical Sense and Sensibility (book and
lyrics by Jeffrey Haddow, based on the Jane Austen novel) has had workshop productions at the Berkshire Musical Theater Workshop and at Playwrights Horizons and will have its world premier in April 2013 at the Denver Center Theatre Company under the direction of Marcia Milgram Dodge.
Mr. Hampton holds degrees in conducting and composition from the Eastman School of Music and Boston University School of Music. Additional conducting studies include master classes at the Pierre Monteux School for Conductors, the Conductor's Retreat at Medomak, and at the Tanglewood Seminar for Conductors. He currently serves on the faculties of Brandeis University and Wellesley College as conductor of the Brandeis-Wellesley Orchestra.
Sangwook Cho, conductor
;:, ngwook Cho holds a Master of Music in Orchestral Conducting from University of Illinois at Champaign-Urbana, where he studied with Donald Schleicher. He also holds a Bachelor of Music in Composition from Seoul National University in Korea. As a composer, he was a winner in the Dong-A Music Competition in Seoul. He is now completing his first year as a Doctor of Musical Arts student at Boston University, where he studies with David Hoose. His other teachers and mentors have included Michael Tilson Thomas, Larry Rachleff, Hun-jeong Lim, and Duk-ki Kim.
Program Notes
Overture to Der Schauspieldirektor K. 486 Wolfgang Amadeus Mozart
Mozart wrote this Overture in 1786 as the opening movement of the one-act comic opera,
Der Schauspieldirektor
(The Impresario). The opera is in the GermanSingspiel
tradition (comedy with music, performed in German with spokendialogue), with close relationships to
The
Abduction
from theSeraglio,
K. 384. At 30, Mozart was still struggling to establish a career in Vienna, having been fired by his Salzburg employer, Cardinal Leandro Colloredo. To stretch his income, Mozart eked out his living by teaching, giving concerts, and composing music for specific functions, and was especially interested in being a successful composer of opera.This commission was extremely welcome as it would enhance both his
reputation and his pocketbook. Written as an entry to a competition established by Austrian Emperor Joseph II in an attempt to prove the viability of the German
Singspiel
against the more popular Italian opera buffa, Mozart was up against his rival Salieri, who wrote the buffa, Prima la musica e poi le parole. The composers were supposed to deal with the same subject: the creation of an opera and the establishment of an opera company. To the disappointment of the Emperor, Salieri was the winner, more perhaps thanks to a superior libretto than the quality of the music. To his defense, Mozart hadn't really spent that much time on the competition, focusing mostly on his next opera, The Marriage of Figaro. Although a fully completed work, Der Schauspieldirektor contains only a smJ
amount of music (an overture and four numbers) and is a burlesque form of an "audition" held by a theatre director, with participants of two sopranos and a tenor. The plot features jealousies, rivalries; tantrums, falsity, and humor, yet the opera is not one of Mozart's most famous, perhaps because the humor is uneven and there is little singing.The Overture is a small masterpiece, built around a vigorous fugue, and, like the contemporaneous overture to Figaro, mixes trivial lightness with lyrical themes. Spirited and filled with vitality, the Overture is frequently performed in the concert hall. In a happy key of C Major, and typical of Mozart, it is built around a vigorous fugue, mixing a highly rhythmic first theme with a beautifully expressive second.
©Jeanne Rogers austinsymphony .org
Pellias et Melisande: Suite, op. 80
briel Faure
Maeterlinck' s dramatic masterpiece Pelleas et Melisande had its premiere in Paris
on May 17, 1893, and within a dozen years of that date no fewer than four dis-tinguished composers, representing varied backgrounds and personal styles, re-sponded to its peculiar fascination with masterworks of their own. Of these, the best-known and largest in scale is the opera by Claude Debussy, who began his project even before the play was produced and who enjoyed the collaboration of Maeterlinck himself. In 1903, the year after the premiere of Debussy's opera, Ar-nold Schoenberg, who at that time still pursued a more or less Romantic course in his compositions, and had considered an operatic treatment of Pelleas himself,
completed instead the large-scale tone poem that was the first of his works for orchestra. Two years later Jean Sibelius composed a set of incidental music for the play which is one of the most remarkable of his several scores for the the-ater. Earlier than all of these was another set of incidental music, composed by Faure at the request of Mrs. Patrick Campbell for her 1898 London premiere of an English translation of the play (which had been presented there in the original French three years earlier).
Faure was not Mrs. Campbell's first choice. When she learned that Debussy was writing his opera, she approached him for music for her production, but he quite understandably declined, and Faure was approached during his visit to London in April1898. "I shall have barely a month and a half to write all this music," he wrote to his wife, adding, "It is true that part of it already exists in my big head!" With help from his pupil Charles Koechlin in orchestrating the score, which comprised more than a dozen numbers, he had it ready in time for the opening.
ort time later he selected three numbers which he revised and reorchestrated orm the concert suite introduced in 1903.
The Prelude at once sets the mood of the drama, suggesting the character of
Melisande against a somber background. The horn calls toward the end of this section suggest the approach of Golaud to discover her in the forest. (The key to the mystery of her wandering is more than hinted at in a subsequent Maeterlinck drama, Ariane et Barbe-bleue, written specifically as an opera libretto for Paul
Du-kas; in that work one of Bluebeard' s wives, who is especially timid and resistant to Ariane's rebellious plans, is named Me!isande.)
The piece headed Fileuse ("The Spinner") served as the introduction to Act III, in
whose first scene (not included in Debussy's opera) Me!isande, at her spinning wheel, talks with Golaud and his son Yniold.
The magical Sicilienne was not part of the suite when it was first performed in
1901, but was added before the score was published eight years later. This piece had been sketched in 1893 as part of the incidental music for Moliere's comedy Le
Bourgeois Gentilhomme, which Faure never finished; it was published separately
Henry Squire just before Faure accepted the Pelleas commission from Mrs.
Camp-bell. Koechlin's light-textured orchestration was retained for the Sicilienne, wh· ·
whatever its actual origin, seems to have come from nowhere but the special
world of Pel!eas. The suite's final movement, The Death of Melisande, served as
prelude to the last act of the play. It is based on the music of a song for Melisande
in the preceding act - which in tum is related to the second motif in Fileuse. The
music manages to combine lamentation with consolation, as one would expect
from the composer of the much beloved Requiem of 1887.
Symphony No. 4 in B-flat Major, op. 60
Ludwig van Beethoven
©Richard Freed kennedy-center .org
On November 13, 1805, Napoleon's army entered Vienna. A week later,
Beethoven gave the first performance of Fidelia before an audience largely
com-prising French officers. It failed. The French forces withdrew early the next year,
and the local aristocrats, who had fled Vienna before the invasion, returned to
their town palaces. Fidelia, extensively revised, was presented again on March
29, 1806, but its reception was still cool. Beethoven spent the summer of 1806
away from Vienna. His first visit was to the ancestral Hungarian estate of his
friend Count Brunsvick at Martonvasar, where the Count's sisters, Therese,
Jose-phine and Caroline, were also in residence. Thayer, in his pioneering biography
of the composer, spread the rumor that Beethoven and Therese got engaged that May, and that it was under the spell of this love affair that the Fourth Symphony
was conceived. In 1890, appeared a book titled Beethoven's Immortal Beloved, from
Personal Reminiscences, purporting to be from Therese's hand, which recounteC.
the relationship. It was a hoax. (The Immortal Beloved, to whom Beethoven wrot
three unheaded letters, was convincingly identified in Maynard Solomon's 1977 biography of the composer as Antonie Brentano, a married Viennese noblewom-an. Solomon also showed the letters to have been written in 1812, not 1806.) The
Fourth Symphony was apparently not a musical love-child, though the counh-y
calm of that summer, perhaps the most halcyon time of Beethoven's life, may
have influenced the character of the piece. At any rate, he must have been so busy
working at the time that he would have had little time for amorous dalliance -- in
addition to the painstaking revisions of Fidelia, before the year was out he had
completed the Appassionata Sonata, the three Razumovsky Quartets (Op. 59), the
Fourth Piano Concerto, the Fourth and Fifth Symphonies and the Violin Con-certo.
After visiting with the Brunsvicks, Beethoven moved to the summer castle of
Prince Lichnowsky in Silesia. Lichnowsky introduced him to his neighbor in
Ober-Glogau, Count Franz von Oppersdorf, a moneyed aristocrat who placed
such importance on his household musical establishment that he would not hire
a servant unable to play an instrument. Oppersdorf, an admirer of Beethoven's
-r
f
r
1
for the composer's visit, and, further, commissioned him to write a new
sym-Y· Beethoven put aside the C minor Symphony (No.5), already well begun,
. ork on the commission, and most of the B-flat Symphony was completed
during September arid October 1806 at Lichnowsky' s castle.
The Fourth Symphony was first heard in March 1807 --but not at Count Oppers-dorf's residence. The premiere was given on one of two all-Beethoven concerts sponsored by Prince Lobkowitz in Vienna at which were played the first four
symphonies, the Coriolanus Overture, a piano concerto and some arias from
Fide-lia. Some time thereafter, Beethoven got around to sending a letter to Oppersdorf, apologizing for robbing him of the honor of the work's premiere. The Count was understandably mad, as the terms of the original commission gave him exclusive performing rights to the piece for six months, but Beethoven offered to make
amends by dedicating the published score to him, which he did. If is unknown
whether the Count's domestic orchestra ever played the piece.
In the Fourth Symphony, Beethoven turned temporarily from the vast expanse
and stormy emotions of the Eroica and the Fifth Symphonies to a more reserved,
classical expression. "A slender Greek maiden between two Norse giants," Robert Schumann called it; "placid and serene-the most perfect in form of all the sym-phonies," added Thayer. Berlioz, who idolized Beethoven and wrote extended essays on the symphonies, noted, "The general character of this score is either
lively, alert and gay or of a· celestial sweetness." It is sweetness subtly tinged with
Romantic pathos that opens the Symphony-a slow introduction that Mahler may have recalled when he wrote his First Symphony. The main theme of the exposition is a buoyant melody, given by the violins, skipping cheerfully among the notes of the opening harmonies. The complementary melody is a snappy
\e
of Haydnesque jocularity discussed by bassoon, oboe and flute. Inventiveerlborations of the main theme occupy the movement's development section. A
heightened recall of the earlier melodies and a vigorous coda bring this sunny movement to an end.
Of the second movement, little needs to be added to the words of Berlioz: "It
seems to elude analysis. Its form is so pure and the expression of its melody so
angelic and of such irresistible tenderness that the prodigious art by which this
perfection is attained disappears completely. From the very first bars we are
overtaken by an emotion which, towards the close, becomes so overpowering in its intensity that only amongst the giants of poetic art can we find anything to compare with this sublime page of the giant of music."
Though Beethoven called the third movement a minuet, it is really one of his most boisterous scherzos-" a jokey mixture of bluster and sly humor," according to Antony Hopkins. The scl1erzo, with its rugged syncopations, sudden harmonic and dynamic shifts and tossing-about of melodic fragments among the orches-tral participants, stands in strong contrast to the suave, legato trio. The finale is
development section.
Of Beethoven's Fourth Symphony, British composer and music scholar Rober,
Simpson wrote, "There is decidedly no trace of crudity or want of dignity in this
wonderfully balanced, richly executed score. But its grace is neither maidenly nor
Greek; it is that of a giant who performs relaxed athletic movements with gigan-tic ease and fluency. There are muscles of steel beneath the skin of Beethoven's creature; sometimes they tense and flex with sudden force, though there is rarely
more than a hint of sudden irascibility."
©Richard Rodda
,STON
UNIVERSITY CHAMBER ORCHESTRA
Violin I Cello Clarinet
Sarah Atwood, Hyun Song, principal Celine Ferro
concertmaster Korynne Bolt Colleen
Grande+-Chae Jeong Lee Mei Xu Lu Sak Lee*
George Millsap Graham Boswell
Lucy Turner Stephen Allen
Christine Shen Lisa Yasui
Michael Hustedde Xi Chen
Kimberlee Gillen Monica Luat
Tingyun Zhang Carolyn Regula
Laura Cohen
Violin II
Emilie Campanelli,
principal
Sofia Basile Shin Hye Noh Andrew Dezmelyk Catherine Outterbridge Samantha Bates Tessa Sacramone Katherine Love Viola Georgina Lodge, rincipal a Griffis Steven Sergi Rebecca Hallowell Kaitlin Springer Rebecca Long Bass
Nathan Varga, principal
Peter Walsh Flute Ting-Yi Lu Ceylon Mitchell* Gabriela Ruiz +-Oboe Alicia Maloney-Sunyoung Moe+ Elizabeth Nelson * ·Bassoon Debra Egan+ Tzu-I Lee*-Hom Cailey Buck Molly Flanagan-Adam Krings+* Xuan Xie Trumpet Neal Andrews+* Charlotte Olson-Harp Michelle Villar* Timpani Matthew Mitchener + denotes principal on Mozart
*
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SmiNGS Toby Oft trombane
Steven Ansell viola* Elizabeth Ostlingflute Edwin Barker double bass • Andrew Price oboe
Cathy llasrak viola Ken Radnofsky saxophone
Lynn Chang violin Richard Ranti bassoon
Daniel Doi\a pedagogy Thomas Rolfs trumpet
Jules Eskin cello Mike Roylance tuba
Carolyn Davis Fryer double Matthew Ruggiero
bass bnssomz
Edward Gazouleas viola Eric Ruske hom "'
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Bayla Keyes violin* english hom
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Rhonda Rider cello Pavel Nersessian,..
Todd Seeber double bass Sergey Schepkin
Roman Totenberg violin ++ Boaz Sharon ""
Laurence Wolfe double bass
Michael Zaretsky viola COLLABORATIVE PIANO
Peter Zazofsky violin • Shiela Kibbe •
Jessica Zhou harp Robert Merfeld
WOODWINDS, BRASS, and ORGAN
PERCUSSION Peter Sykes •
Ken Amis tuba
Jennifer Bill saxaphmw VOICE
Peter Chapman trumpet Michelle Alexander •
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Doriot Dwyer flute Michael Beattie
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Richard Menaul horn Jerrold Pope •
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SCHOOL OF MUSIC DEPARTMENT OF PRODUCTION AND ENSEMBLES J. Casey Soward, Assistant Direetor for Production and
Performance
Michael Barsano, Manager of University-Wide Ensembles
Michael Culler, Head Recortfing Engineer
David Dawson II, Scheduli118 a11d Recitals Coordinator
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Robert K. Dodson, Director, School of Music
Jim Petosa, Director, School o{TIIeatre
Lynne Allen, Director, Schoo of Visual Arts
HISTORICAL MUSIC EDUCATIO
PERFORMANCE Susan Conkling •
Aldo Abreu recorder Diana Dansereau *
Sarah Freiberg Ellison Andre de Quadros •
cello Jay Dorfman •
Greg Ingles sackbut Andrew Goodrich*
Laura Jeppesen Lee Higgins •
viola da gamba RonKos,.
Christopher Krueger Warren Levenson
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Robinson Pyle David Hoose*
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Richard Cornell, Associate Director
Phyllis Hoffman, Executive and Artistic Director of The Boston
University Tanglewood Institute
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Richard Corne 1, Music Studies Robert K. Dodson, Director
Phyllis Hoffman, Executive and Artistic Director of Boston
University Tanglewood Institute
Ann Howard Jones, Ensembles
David Kopp, Director, Graduate Studies
Michelle LaCourse, Chair, AJ>plied Studies
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Boston University
College of Fine Arts School of Music
coming Events and Performances
Tuesday, October 2, 8:00pm
Thursday, October 4, 8:00pm
Boston University Symphony Orchestra David Hoose, conductor
Tsai Performace Center
Faculty Recital Series: John Muratore John Muratore, guitar
Tsai Performace Center
Saturday, Sunday October 6-7, 2:00pm, 8:00pm Fringe Festival
Le Portrait de Manon
Allison Voth, music director
Boston University Theatre, Lane-Conley Studio 210
Saturday, October 20, 8:00pm Boston University Choral Ensembles
T esday, October 23, 8:00pm
Michael Dauterman, Joshua Rohde, conductors
Marsh Chapel
Boston University Wind Ensemble David
J.
Martins, conductor Pei-Yeh Tsai, pianoTsai Performance Center
Boston University Theatre, 264 Huntington Avenue Marsh Chapel, 735 Commonwealth Avenue
Tsai Performance Center, 685 Commonwealth Avenue
Boston University College of Fine Arts
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