2013 - woodstock mozart · pdf file6 board of directors 2013 tom a. svoboda, lt. col. ret.,...

27th Anniversary Season2013

W o o d s t o c k O p e r a H o u s eW o o d s t o c k , I l l i n o i s

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Join us for

PRE-CONCERT INTRODUCTIONS COMMUNITY ROOM

JUlY 26-27 Conductor/Artist ConversationSaturday 7:00 P.M. DONATO CABRERA, conductorSunday 2:00 P.M. VASSILY PRIMAKOV, piano

COMMUNITY ROOM AUgUST 3-4 Conductor/Artists Conversation Saturday 7:00 P.M. IGOR GRUPPMAN, conductor Sunday 2:00 P.M. NAZAR DZHURYN, cello DANIEL GAUTHIER, saxophone

COMMUNITY ROOMAUgUST 10-11 Conductor/Artists ConversationSaturday 7:00 P.M. IGOR GRUPPMAN, violinist and conductorSunday 2:00 P.M. VESNA GRUPPMAN, viola

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A Special Request fromthe Festival…

FOR THOSE WHOSECONTACT INFORMATION

WE DO NOT HAVE,please take a few minutes to

fill out the informationcard in your program

book so we can updateour records. Mostimportant, please

include your email address.Hand your completed card to an usher during intermission

or after the concert so you can receiveour special notices and Festival newsletter.

T h a n k y o u … .

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Cary / Crystal Lake / McHenry

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B O A R D O F D I R E C T O R S

2 0 1 3 Tom A. Svoboda, Lt. Col. Ret., President

Maija Mizens, Ph. D., Vice President

Mark Schiffer, M.D., Secretary

Amy Ottens, Treasurer

Judysharon Buck, Ph. D.

Allen Ottens, Ph. D.

Marsha Portnoy

The Woodstock Mozart Festival is a member of theLeague of American Orchestras and the Illinois Arts Alliance

F E S T I V A L S T A F F Anita Whalen, Artistic and General Director Lori Babinec, Personnel Manager/Librarian Pat Kalina, Administrative Assistant

Funding is provided by the Illinois Arts Council, a state agency,and through private, foundation, and corporate contributions.

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Dear Friends,

Welcome to the twenty-seventh annual Woodstock Mozart

Festival! The Board and I thank you for your support. It is

our pleasure once again to present this entertainment to you,

our audience members and supporters.

Recently, my wife and I attended a free concert at the Chicago Cultural Center, 78 E.

Washington, Chicago to meet some friends we had made on a recent trip to

Cuba. These concerts are presented weekly on Wednesdays at 12:15 P.M and last

approximately 45 minutes. They are simulcast on WFMT Radio.

After driving downtown, parking, and enjoying a wonderful lunch, I began to realize

that our “free” concert really cost us several hundred dollars. It prompted me to

think what a wonderful bargain we have in the Woodstock Mozart Festival. World

class entertainment in or own back yards with no traffic problems, expensive parking,

or outrageous food costs to worry us. We are indeed lucky.

It is up to you, our audience, to continue these concerts which have developed

a world-wide reputation. If you want these programs to continue, we need your

financial support. Every donation is welcome, from $25 to $1,000 dollars. It all helps.

We look forward to enjoying these concerts for years to come with you, your families,

and friends.

Enjoy the concerts,

Tom A. Svoboda

President

A MESSAGE FROMTHE PRESIDENT

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Our sincerest gratitude to the

P R O G R A M I

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WOODSTOCK MOZART FESTIVAL

PROGRAM ISaturday, July 27, 2013 • 8:00 P.M.Sunday, July 28, 2013 • 3:00 P.M.

Woodstock Opera House

DONATO CABRERA, conductor

VASSILY PRIMAKOV, piano

Rumanian Folk Dances Béla Bartók I. Jocul cu bâta II. Brâul III. Pe loc IV. Buciumeana V. Poarga româneasca VI. Maruntel VII. Maruntel

Concerto No. 17 in G Major for Piano and Orchestra, K. 453 Wolfgang Amadeus Mozart I. Allegro II. Andante III. Allegretto

I N T E R M I S S I O N

Concerto in E-flat Major for Chamber Orchestra, Igor StravinskyDumbarton Oaks I. Tempo giusto II. Allegretto III. Con moto

Symphony No. 85 in B-flat Major, La Reine Franz Joseph Haydn I. Adagio – Vivace II. Romanze: Allegretto III. Menuetto: Allegretto IV. Presto

Yamaha Piano provided courtesy of Yamaha Artist Services, New York,and Hendricks Pianos in Downers Grove, Illinois

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JULY 27-28

DONATO CABRERA, conductor

Resident Conductor of the San Francisco Symphony, Donato Cabrera also serves as Music Director of the Green Bay Symphony Orchestra and New Hampshire Music Festival. In San Francisco he works closely with Music Director Michael Tilson Thomas and frequently conducts the San Francisco Symphony throughout the year. In addition to his appearances, with the orchestra in subscription concerts, he leads the annual Dia de los Muertos Community Concerts, Concerts for Kids,

Adventures in Music and Music for Families concerts which annually draw more than 60,000 young people and their families from throughout the Bay Area.

In 2002, Cabrera was a Herbert von Karajan Conducting Fellow at the Salzburg Festival. He has served as resident conductor at the Ravinia, Spoleto (Italy) and Aspen Music Festivals, and at the Music Academy of the West. He has also been an assistant conductor for productions at the Metropolitan Opera, Lyric Opera and Los Angeles Philharmonic.

Cabrera made his San Francisco Symphony debut in April 2009 when he conducted the Orchestra with 24 hours notice in a program that included Mozart’s Symphony No. 38 and Ravel’s orchestration of Mussorgsky’s picture at an Exhibition. From 2005 – 2008 he was Associate Conductor of the San Francisco Opera where he prepared the cast and conducted the first rehearsals for the world premier of John Adam’s Doctor Atomic.

Dedicated to music education, Mr. Cabrera has worked with members of the young artist programs of the San Francisco Opera, Lyric Opera and Portland Opera. He also has been a frequent conductor of Young People’s Concerts of the New Jersey Symphony Orchestra. In 2012 he led the San Francisco Youth Symphony on their eighth European tour, and during 2011-2012 that orchestra won an ASCAP Award for Adventurous Programming of American music

“Cabrera led an evocative and sharply etched performance.” – SAN FRANCISCO CHRONICLE

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JULY 27-28

VASSILY PRIMAKOV, piano

Vassily Primakov’s first piano studies were with his mother, Marina Primakova. He entered Moscow’s Central Special School at the age of 11, and at 17 moved to New York to continue his studies at the Juilliard School with Jerome Lowenthal.

At Juilliard Mr. Primakov won the William Petshek Piano Recital Award and presented his debut recital at Alice Tully Hall. With the assistance of the Susan W. Rose Career Grant, he won both the Silver

Medal and the Audience Prize in the 2002 Gina Bachauer International Artists Piano Competition. Later that year he won First Prize in the 2002 Young Concert Artists (YCA) International Auditions.

In 2007 Mr. Primakov was named the Classical Recording Foundation’s “Young Artist of the Year”, and in 2009 his recording of Chopin Mazurkas was named “Best of the Year” by National Public Radio. It was during this same year that he began recording the 27 Mozart piano concertos in Denmark. BBC Music Magazine (November 2010) praised the first volume of Primakov’s Mozart concertos: “The piano playing is of exceptional quality: refined, multi colored, elegant of phrase, immaculately balanced, both in itself and in relation to the effortlessly stylish orchestra. The rhythm is both shapely and dynamic, the articulation a model of subtlety. By almost every objective criterion, Vassily Primakov is a Mozartian to the manner born, fit to stand as a role model to a new generation”.

Mr. Primakov, along with his duo partner, Natalia Lavrova, recently intitiated a new record label, LP Classics, Inc. For their inaugural release, the Lavrova/Primakov duo recorded the four suites for two pianos by Anton Arensky. Mr. Primakov’s newest solo release on this label is a double disk Chopin collection including the three Sonatas, four Ballades and four Scherzos. He has also released numerous recordings for Bridge Records.

“The musician received at his birth such a precise and

fine ear that the least false tone gives him pain.

His heart is as sensitive as his ear.” Dr. S.A.A. Tissot on Mozart

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PROGRAM I NOTESNotes by Roger Ruggeri © 2013

Béla Bartókb. March 25, 1881; Nagyszentmiklosd. September 26, 1945; New York City

Roumanian DancesAround 1900, the Hungarian composer-pianist, Béla Bartók, was drawn to the mountains of central Europe to collect the folk music of several ethnic groups. Along with his later collaborator, Zoltán Kodály, Bartók made many trips over a five year period, collecting thousands of examples of folk music; much of which was centuries old, but had never been drawn into a notated collection. Highly significant in itself, this collection also influenced the course of both men’s later compositions.

Bartók’s search took him to an area of Hungary known as Transylvania around 1909. There, Bartók found the Rumanian folk music from that area particularly vigorous and lyrically expressive. Upon returning to Budapest, Bartók formed a piano suite from seven dances, then in 1917 transcribed the music for small orchestra. Bartók generally considered his ordering of dance tunes to be arbitrary; he rarely performed all of them at any one concert. Realizing that the tunes he used were part of a commonly shared heritage, Bartók readily agreed to a variety of transcriptions.

Recalling his first hearing of this music, Bartók explains that Joc cu bâta (“Stick Dance”) and Buciumeana (“Hornpipe Dance”) were played to him by a gypsy violinist; Brâul (“Sash Dance”) and Pe loc (“In One Spot”) were notated after hearing peasants playing their rustic flutes; and Poarga româneasca (“Romanian Polka”) and Maruntel (“Fast Dance”) were revealed to him by a Romanian peasant fiddler.

Wolfgang Amadeus Mozartb. January 27 1756; Salzburgd. December 5, 1791; Vienna

Concerto for Piano and Orchestra in G major, K. 453, (No. 17)The sensitive shadings of Mozart’s G major Piano Concerto (K. 453) came into being during his artistically and personally fruitful year of 1784. Completed on April 12th, the concerto was written for the composer’s talented pupil, Barbara Ployer, who was scheduled to give a private “academy” at her family’s summer home on June 10th. Mozart obviously prized the artistry of his student, for he created a work that was directly appealing to the general listener of the day, yet was filled with subtle interactions that demanded an extremely sensitive interpreter.

An interesting personal note in Mozart’s life is recalled by the final movement. It seems that about six weeks after he completed the concerto, Mozart found a starling that could sing the opening phrase of the finale. Enchanted, the composer bought the bird and soon became very attached to it. It died three years later and was buried in the Mozarts’ garden; the verses on its headstone began: “Here lies a beloved clown....”

Continued—

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Program I Notes Continued—

I. Allegro, G major, 4/4. A sizeable orchestral tutti begins the concerto; both major themes are voiced by the first violins. The soloist takes up these ideas and then, after a passage of some elaboration, enters into the fantasia development. Recapitulation begins smoothly; the pianist then has a choice of two cadenzas that Mozart wrote for this movement, before a concise tutti effects a conclusion.

II. Andante, C major, 3/4. This unusual and appealing slow movement begins with a theme that Mozart piano concerto authority Cuthbert Girdlestone hails as “one of the most expressive, the most pictorial even, in all Mozart…It sums up the movement like an inscription carved over a portal and repeated at intervals inside the building.” The music’s poetic flow transcends form; its varied emotional expressions are punctuated by returns of the opening theme.

III. Allegretto, G major, 2/4. Mozart’s finale consists of a theme, five variations and an extensive coda. It is perhaps significant that the theme (the one learned by the starling) also bears a likeness to the first air that Mozart later wrote for Papageno, the bird-catcher in his opera The Magic Flute. After the materials of five variations are exchanged between soloist and orchestra, the work is capped by a vivacious presto.

Igor Stravinskyb. June 17, 1882; Oranienbaum (now Lomonsov)d. April 6, 1971; New York City

Concerto in E-flat (“Dumbarton Oaks”)While in America during 1937, Stravinsky received a commission to write a concerto for chamber orchestra in celebration of the thirtieth wedding anniversary of Mr. and Mrs. Robert Woods Bliss of Dumbarton Oaks in Washington D.C. The composer set to work in the spring of 1937 at the Château de Montoux, in the French Alps, near Annemasse, completing it in Paris on March 29, 1938. It was to be the last work that Stravinsky composed completely in Europe. During the process, a friend asked Stravinsky what he was working on and was told: “A little concerto in the style of the Brandenburg Concertos.” It’s thought that the lovely gardens at Dumbarton Oaks reminded the composer of the architectural symmetries in Bach’s expression

This was a difficult period in the composer’s private life. He, his wife and his daughter were all suffering from tuberculosis; his wife, daughter and mother all died soon thereafter. Stravinsky’s ailment prevented him from traveling to America to direct the first performance of the Concerto in E-flat. He prevailed upon the noted French composer/pedagogue Nadia Boulanger to lead the premiere at a private concert at Dumbarton Oaks on May 8, 1938. Stravinsky was, however, able to lead the first public performance of this music at a concert of La Sérénade, in Paris, on June 4, 1938.

Characterized by the authoritative Eric Walter White as “gay and exhilarating in its effect” the “Dumbarton Oaks Concerto” is cast in three continuous movements, joined

Continued—

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by a few quiet chords. A central Allegretto creates an island of serenity amid quicker contrapuntal outer movements.

Franz Joseph Haydnb. March 31, 1732; Rohraud. May 31, 1809; Vienna

Symphony No. 85 in B-flat major (“La reine”)Haydn spent nearly thirty years as Kapellmeister to the Esterhazy family and was generally content with his somewhat sheltered life. He once told Griesinger: “My prince was always satisfied with my works. Not only did I have the encouragement of constant approval, but as conductor of an orchestra I could make experiments, observe what produced an effect and what weakened it, and was thus in a position to improve, to alter, make additions or omissions, and be as bold as I pleased. I was cut off from the world; there was no one to confuse or torment me, and I was forced to become original.” Although he ultimately became dissatisfied with his cloistered existence, his works did become more widely known through the enthusiasm of countless royal visitors to the Esterhazy’s palaces.

It was royal word-of-mouth that contributed to the scheduling of Haydn’s Stabat Mater on a Paris concert of the Concerts Spirituel in 1781. The success of this and several subsequently performed Haydn symphonies, led a rival organization, the Concerts de la Loge

Olympique, to commission a set of six new symphonies. The Loge Olympique was one of the most lavish artistic manifestations of the ancien regime. Queen Mary Antoinette and her court attended this sumptuous subscription series that only existed for the three years prior to the Revolution of 1789. Dressed in brocade and plumes, the orchestra was enormous for its day; there were forty violins, four each of woodwinds and ten double basses.

The “Paris” symphonies are comprised of Nos. 82-87; the present work, No. 85, was written in 1785 and is, in the opinion of the Haydn authority Jens Peter Larsen, “among the finest expressions of Haydn’s genius.” It gained its nickname “The Queen” because Marie Antoinette (1755-1793) was particularly drawn to it after hearing a tune from her Viennese childhood in the symphony’s second movement.

I. Adagio; Vivace, B-flat major, 4/4; 3/4. Beginning with a stately introduction displaying the dotted rhythms of a French overture, the first movement continues with a scampering Vivace. The second theme seems to allude to the restive beginning of the “Farewell” Symphony (No. 45), written over a decade earlier. Biographer Karl Geiringer conjectures that this allusion is intentional, for his earlier symphony was first published in France about a year before the first performance of this present symphony.

II. Allegretto, E-flat major, 2/2. Violins state the theme La gentille et jeune Lisette which so immediately appealed to Marie Antoinette. The words of the song tell how young Lisette believes all lovers false and fickle, then warns that she too will ultimately succumb. In the flute variation, there is a sudden forte containing independent writing for cellos and double basses…an early example of what many then regarded as a daring innovation. More flute

Continued—


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embroidery emerges in the third variation. The fourth and final variation employs the bassoon playing in octaves with the melody. Geiringer calls this movement “a dainty and charming rococo canvas in the style of Watteau and Lancret.”

III. Menuetto: Allegretto; B-flat major, 3/4. In customary form the minuet music surrounds a trio section that features interesting woodwind solos.

IV. Finale: Presto, B-flat major, 2/4. A lively blend of rondo and sonata form, the finale features themes that are closely related. Again, the bassoon enjoys an occasional doubling of the violins’ melody as this movement progresses to its athletically effervescent close.


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FROM THE ARTISTIC andGENERAL DIRECTOR

Dear Friends,

During these times, I think you will agree that it is a remarkable accomplishment for the Festival to reach its 27th season. We genuinely thank you, our audience members and generous donors, for making this possible.

If you have been attending the Festival for a number of years, you have heard the orchestra improve, gone home with unforgettable performances lodged permanently in your memory, and seen the size of the audience diminish and rally according to changing times and economic circumstances.

For those who have stayed the course, we hope that our concerts have brought you the pleasure and inspiration we strive for.

As with many organizations, we have lowered expenses and tapped our reserves for the past four years as we tried to work within the necessary constraints without jeopardizing the artistic quality of our performances. We have established new ticket prices and continue to explore new avenues of outside support, including the initiation of an Oktoberfest fundraising event with Woodstock’s Rotary club which we hope you will attend on Saturday, September 14th.

We are delighted you are with us this summer, and we hope you will remember that ticket revenues cover only 40% of the cost of producing the Festival. We deeply appreciate the additional donations without which this 27th season would not be possible.

We also hope our efforts to offer special performances are what keep you coming, and that you would like to continue to enjoy the Festival. With that thought in mind, please know that we need and depend on you to introduce your family and friends to our event, and to offer additional contributions to assist us in staying the course.

All joys in music!

Anita Whalen

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The Woodstock Mozart Festival is a world-class musical event that enjoys an international reputation. Yet it is a “homegrown” effort that relies on the energy and dedication of volunteers. Right now, the Festival is looking for a few good friends who can donate three or four hours of their time to assist us with activities and events.

YES, I’m interested in helping out as a Friend of the Festival. Please contact me:

Name ________________________________________________

Address ______________________________________________

Phone _______________________________________________

Email ________________________________________________

Please send to: Festival Friends Woodstock Mozart Festival P.O. Box 734 Woodstock, IL 60098

Thank You!

Become a Friendof the Festival

…AND HELP KEEP OUR

MozartMarvelous!

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ABOUT THE SAXOPHONEBy Al Ottens, Ph. D.

Even those only casually acquainted with classical music might be able to identify Jascha Heifetz and Vladimir Horowitz as virtuosos, respectively, of the violin and piano. But who is or was the most renowned saxophonist? It’s hardly surprising that you don’t know—the answer is revealed in a bit—but that’s perhaps due to the saxophone being a newcomer, so to speak, among musical instruments. It’s been around only 170 years.

Belgian-born Adolphe Sax was the eponymous inventor of the saxophone. Adolphe followed in the footsteps of his instrument-maker father who is credited with making several modifications to the French horn. From an early age Adolphe showed a keen interest in designing new instruments that could produce a new range of sounds. In his workshop in the early 1840s he produced a prototype of a novel reed instrument. This saxophone held promise of being the tonal link between an orchestra’s brass and woodwind sections.

The saxophone might have remained nothing more than a curious contraption if it had not piqued the interest of Hector Berlioz, the famous French composer. Berlioz publicized the new horn in a favorable article. What’s more he was the first to include a saxophone in an 1844 composition, Chant Sacre. Apparently Berlioz’s initial enthusiasm wilted, because he never wrote for the saxophone again.

Despite being mocked as “mongrel” instrument, the horn quickly established itself as a fixture in bands, notably the prestigious French Army Band. It would take much more time—about 70 years—for composers to bring the saxophone to the fore within the classical oeuvre. No doubt its emergence was due in no small measure to the efforts of the classical saxophonist, Marcel Mule [1901-2001; and answer to above question], who was born only a few years after the death of Adolphe Sax and regarded as the “Paganini of the Saxophone.”

Today’s concert-goers are quite familiar with works that contain notable saxophone solos. Maurice Ravel’s Bolero, Darius Milhaud’s La Creation du Monde, and George Gershwin’s Rhapsody in Blue are some examples that come quickly to mind.

The second concert weekend (August 3rd and 4th) of the Festival’s 2013 season features five pieces that showcase the saxophone. These include Pedro Iturralde’s sultry and spicy Pequena Czarda, Erwin Schulhoff ’s sizzling Hot Sonate, and the fast-paced Concertina da Camera by Jacques Ibert.

Canadian saxophonist Daniel Gauthier makes his exciting Festival debut that weekend. Dr. Gauthier, who is himself a dazzling soloist, founder of a saxophone and piano quintet, and eminent teacher, follows in the trailblazing path of Marcel Mule.

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With Deepest Apprecition

we thank

Jane & RobertBarkei

for their continuingsponsorship of

this weekend’s performances.

Jane & RobertBarkei

P R O G R A M I I

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PROGRAM IISaturday, August 3, 2013 • 8:00 P.M. Sunday, August 4, 2013 • 3:00 P.M.


IGOR GRUPPMAN, conductorNAZAR DZHURYN, cello

DANIEL GAUTHIER, saxophone Symphony No. 17 in G Major, K. 129 Wolfgang Amadeus Mozart I. Allegro II. Andante III. Allegro

Concerto in C Major Franz Joseph Haydnfor Cello and Orchestra, H. VIIb:1 I. Moderato II. Adagio III. Allegro molto


Intermezzo from Cavalleria Rusticana Pietro Mascagni

Concertino da camera Jacques Ibertfor Alto Saxophone and Orchestra I. Allegro con moto II. Larghetto - Animato L’Arlésienne Suite No. 1 Georges Bizet III. Adagietto

Hot Sonate Erwin Schulhoff

Pequena Czarda Pedro Itturalde

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August 3-4

IGOR GRUPPMAN,conductor

Ukrainian violinist Igor Gruppman enjoys a multi-faceted career as soloist, conductor, orchestra leader and chamber musician. Currently he serves as concert master of the Rotterdam Philharmonic Orchestra, and in the United States, as Principal Conductor of the Orchestra at Temple Square in Salt Lake City. He is invited frequently as guest concert master and as conductor of the Rotterdam Philharmonic, and the Mariinsky Theater Orchestra

and Chamber Orchestra. With the Mariinsky Chamber Orchestra and Mariinsky Stradivari Orchestra, he also appears regularly as violin soloist and violinist and conductor. Mr. Gruppman has collaborated with and been influenced by important conductors: George Solti, Valery Gergiev, Mstislav Rostropovich, Sir Colin Davis, Sir Simon Rattle and Bernard Haitink.

He sometimes shares the podium with Maestro Gergiev, and in 2009, he was invited by him to conduct the Mariinsky Stradavari Orchestra on a tour of Asia. In that part of the world, he also has been invited for conducting engagements with the Tokyo NHK and Seoul Philharmonic Orchestras.

Mr. Gruppman appeared in an all-Mozart program at the De Doelen Great Hall in Rotterdam where in addition, to conducting, he gave the Netherlands premier of Mozart’s recently reconstructed Concerto for Violin and Piano with pianist Ronald Brautigam. He has since been asked by the orchestra to conduct his own series of concerts, and was the conductor of the orchestra’s 2010 and 2011 proms series.

Igor Gruppman’s discography is extensive on the Naxos, Koch, and Video Artist International labels. He is a graduate of the Moscow Conservatory where he studied with Leonid Kogan and Mstislav Rostropovich followed by studies with Jascha Heifetz in Los Angeles. He is now on the faculty of the Rotterdam Conservatory. In 2002, he and his wife Vesna co-founded the Gruppman International Violin Institute to select, train and develop careers of exceptionally gifted violinists around the world using the latest videoconferencing technology.

“Igor Gruppman brought high intensity and powerful emotion from the Mariinsky Stradivarius Orchestra…the Mariinsky strings played as if their lives depended on it.”

- ST. PETERSBURG TIMES

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August 3-4

NAZAR DZHURYN,cello

A native of Lviv, Ukrain, Nazar Dzhuryn received his degrees from the Lviv Music School and Moscow Conservatory where he subsequently spent two years as an Assistant Professor of Cello. He has performed in solo recitals throughout Russia, Ukraine, South America, Europe, Africa and the United States.

In Chicago Dzhuryn has appeared on the Dame Myra Hess recital series and the Piano Forte Salon Series, both of which were broadcast live on WFMT radio. As soloist with orchestra, he has been a guest of the Moscow State Symphony “Young Russia”, Moscow Conservatory Symphony, National Symphony of Ukraine in Kiev, Minsk Philharmonic and Ensemble of Soloists Classicus of Zagreb as well as with the Elgin Symphony Orchestra in Illinois.

An active Chamber Musician in the Chicago area, Mr. Dzhuryn has performed in Rush Hour Concerts at St. James Cathedral and as a guest artist with the Chicago Chamber Musicians. He also has participated in the Rostropovich Festival in Evian, France, and has performed as an orchestral musician under Georg Solti, Mstislav Rostropovich, Daniel Barenboim, and Helmuth Rilling.

Dzhuryn, is assistant principal cellist of the Elgin Symphony Orchestra and serves on the music faculties of Northeastern University, Elgin Community College and Naperville’s School for the Performing Arts. His students have won prizes in numerous competitions including the Fischoff National Chamber Music Competition, The Walgreens Concerto Competition, and the Chicago Chamber Music Competition sponsored by Midwest Young Artists.

As principal cellist of the Woodstock Mozart Festival since 2004, he performs on a cello made in Cremona, Italy by Alfredo Primavera in 1985.

“If only I could impress on every music lover’s soul

how inimitable are Mozart’s works, how musically

intelligent, how extraordinarily sensitive.” — HAYDN

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August 3-4

DANIEL GAUTHIER,saxophone

Having studied at both the Conservatoire de Musique of Montréal and of Bordeaux, Daniel Gauthier completed his work at the Université de Montréal with a doctoral degree. At the age of twenty-four, he became the first saxophonist to win the Grand Prix in the International Stepping Stone of the Canadian Music Competition. In addition, he was a laureate of the Ancona International Music Competition in Italy.Gauthier has performed in Canada’s major cities

as well as in Washington DC, Newport, Seoul, Tokyo, Osaka, Buenos Aires, Paris, Munich, Berlin, Amsterdam, Salzburg, Verona, Athens, Ljubljana, Istanbul, Moscow, St. Petersburg and many other important music centers.

As soloist he has appeared with the Beethoven Orchestra Bonn, the Staatskapelle Weimar, the Radio Orchestra Stuttgart, the Lubljana Radio Orchestra, L’Orchestre Métropolitain du Grand Montréal, the Jena Philharmony, the Aachen Symphony, the Sinfonietta Cologne l’Orchestre Symphonique de Troir-Rivieres, the WDR Rundfunk Orchestra Cologne, the Südwestfalen Landes Orchester and many others.Active in the fields of traditional and contemporary music, Gauthier has collaborated with many composers and premiered a number of compositions. In demand as a Master Class clinician, he has coached students in almost all of the European music capitals and served as a jury member of the most important saxophone competitions in the world.

In 1997 Mr. Gauthier became a professor at the Detmold Faculty of Music (Germany), and in 2003 he joined the Cologne Faculty of Music. In 2000 and 2006 he was elected a member of the International Saxophone Committee, and has twice received the German CD Award, “Echo Klassik” ( European Grammy): in 2005 with the Alliage Quintet, and as soloist in 2006. The Alliage Quintett records for SONY Classical.

“Daniel Gauthier was brilliant…his instrument sang with joy!” – KÖLNER RUNDSCHAU, GERMANY

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Continued—

PROGRAM II NOTESNotes by Roger Ruggeri © 2013

Wolfgang Amadeus Mozartb. January 27, 1756; Salzburgd. December 5, 1791; Vienna

Symphony No. 17 in G major, K. 129Completed in May of 1772, this charming three-movement Salzburg symphony may have been begun sometime earlier. Scored for pairs of oboes and horns, with the usual strings, the sixteen-year-old composer begins with an Allegro fascinated by witty interplay of a Scotch snap (short-long) motive. Mozartean serenity abides in the second movement Andante. Development occurs concisely in eight measures of fugato before a return of the opening material. The Allegro finale is filled with spirited hunting calls. About similar music in the finale of his opera The Abduction from the Seraglio, Mozart wrote: it “must go very fast—and the ending must make a truly great racket…the more noise the better—the shorter the better—so that the audience doesn’t grow cold before the time comes to applaud.”

Franz Joseph Haydnb. March 31, 1732; Rohrau, Lower Austriad. May 31, 1809; Vienna

Concerto in C major, for Violoncello and Orchestra, H. VIIb:1The concertos of Franz Joseph Haydn elicit a great deal of interest, yet this entire creative area is shrouded in darkness. Haydn’s thematic index indicates about fifty works in concerto form--less than twenty of them have been found and published. Perhaps some remain to be discovered, but undoubtedly many are gone forever; there is a distinct possibility that a number of these works were destroyed in the Esterhaza theater fire of 1779. All hope is not lost, however. In recent years such Haydn scholars as H.C. Robbins Landon, Anthony van Hoboken (whose “H” number identifies these works) and Jens Peter Larsen have uncovered a number of missing manuscripts. Another exciting “find” was the present work, a C-major cello concerto located by Oldrich Pulkert in 1961 amid the Radenin castle collection that was housed in the National Museum of Prague.

According to his personal thematic index, Haydn wrote six cello concertos; however, only two authentic works are presently known to exist. For many years it seemed that there was only one concerto, the well known D-major concerto, Opus 101 (H. VIIb:2). Upon its discovery, the present C-major Concerto was quickly authenticated and rushed into publication. It is an early work, possibly Haydn’s first concerto for the instrument. Composed about 1765, the work was most likely written for Haydn’s first cellist at Esterhaza, Joseph Weigl. After centuries of silence, the work resounded in its first modern performance at the “Prague Spring” International Music Festival on May 19, 1962. On this occasion, the soloist was Milos Sadlo; Charles Mackerras led the Czechoslovak Radio Orchestra. Subsequently, Mstislav Rostopovich recorded the work with Benjamin Britten conducting the English Chamber Orchestra.

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Program II Notes Continued—

In the Artia edition score, Oldrich Pulkert provides the following information: “As regards the compositional character of the present Concerto, it has its roots in contemporary practice, but, unlike the usual run of violoncello works, is distinguished by a highly cultivated musical expression, of undoubted originality, and betraying a perfect command of the technical possibilities of the solo instrument, judging from the marked individuality of the expressive thematic material in all three movements. Interesting and unusual for the time is the cyclic conception prescribed by the formal structure of the component movements: the first movement—Moderato—is composed in classical ‘first-movement form,’ the second—Adagio—in large-scale ternary form, the finale—Allegro di molto—again in first-movement form. The orchestral accompaniment conforms to contemporary concert practice and, at the same time, respects the concertante possibilities for display of the solo instrument and its specific sonorities. Thus the core of the orchestral accompaniment is limited to a string quartet, reinforced by additional violins and wind instruments only in the introductory and closing sections and in the orchestral interludes of the individual movements. In these parts, the ‘cello participates in the ripieno, strengthening the bass by doubling at the octave. This original practice is not, however, prescribed in our edition of the Concerto. Modern interpretive practice will naturally separate the solo from the tutti, it being presumed that the orchestra will have a sufficiency of ‘cellos and double basses to make the participation of the solo instrument unnecessary.”

Pietro Mascagnib. December 7, 1863; Livornod. August 2, 1945; Rome

Intermezzo from the opera Cavalleria rusticanaThe life of Mascagni forms a cautionary tale about the perils of success. An indifferent music student at the Milan Conservatory, Mascagni qit school after two years and took a position as a double bass player at the Teatro Dal Verme in Milan. Soon thereafter, he toured as a conductor of thrid-rate operetta companies; tired of the vagrant life after several seasons, he married and settled down as a music teacher in Cerignola, Puglia.

Composing cantatas and operas during this period, he was considering the possibility of entering the fourth act of his Guglielmo Ratcliff in a contest for one-act operas. While he was trying to decide, his wife entered Cavalleria rusticana without his knowledge. The work was judged to be one of three winners, and was produced in Rome on May 17, 1890. It was an instant popular success; within a year, Mascagni had gained world fame. Unfortunately, none of his subsequent thirteen operas ever matched the success of Cavalleria…. He later lamented: “It is a pity I wrote Cavalleria first. I was crowned before I became king.” His career ebbed to a new low when he allowed himself to become a figurehead in Mussolini’s Fascist regime; utterly disillusioned, he died in a disreputable hotel room.

Cavalleria rusticana is the most famous of the one-act verismo (It: ”realism”) operas of the late 19th-century. Based upon a short story by Giovanni Verga, the opera tells a

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contemporary Sicilian tale about a girl jilted by a soldier who was also romancing a married woman. Seeking revenge, the girl tells the woman’s husband, who ultimately kills the soldier in a duel. The Intermezzo is played just after the husband is informed about his wife’s infidelity. Of this instrumental interlude, the Earl of Harewood wrote: “…the famous intermezzo…recapitulates, in its forty-eight bars, what has gone before, and foreshadows the tragedy that is impending. There is no restating here of leading motives. The effect is accomplished by means of terse, vibrant melodic progression. It is melody and yet it is drama. Therein lies its merit. For no piece of serious music can achieve the world-wide popularity of this intermezzo and not possess merit.”

Jacques Ibertb. August 15, 1890; Parisd. February 5, 1962; Paris

Concertino da Camera, for Alto Saxophone and OrchestraPossessed of the French composer’s affinity for woodwind writing, Jacques Ibert studied with Gabriel Faure at the Paris Conservatory and served with the French Navy in World War I before winning the coveted Prix de Rome in 1919. Ibert later accepted the directorship of the Academy of Rome and held that post for two decades. A skillful craftsman, Ibert was a facile composer who often seasoned his blend of Impressionism and neo-Classicism with delightfully humorous touches.

In 1935, Ibert turned his talents to the creation of a modern concerto grosso for alto saxophone and eleven instruments. Cast in two movements, this virtuosic work was written for Sigurd Rascher, who premiered it in Paris on May 2, 1935. Describing the flow of this music, David Ewen writes: “There is buoyant, lyrical material that is fresh and singable: the principal themes of both the first and the larghetto movements, each one introduced by the soloist. In the Larghetto, Ibert’s melodic writing grows mellow and thoughtful. But besides being lyrical, the concertino is witty, as in the fugato of the first movement, in which the various voices take part in a kind of rowdy abandon; or as in the leapfrog pranks of the rhythms in the closing page.”

Georges Bizetb. October 25, 1838; Parisd. June 3, 1875; Bougival

Adagietto from the Incidental Music to L’ArlesienneShortly before setting to work on his immortal Carmen, Bizet became involved in Carvalho’s plans to revive the moribund form of the melodrame at the Vaudeville. The vehicle for this interweaving of drama and music was Alphonse Daudet’s L’Arlesienne (“The Woman of Arles”). Limited by budgetary considerations to an orchestra of twenty-six players, Bizet rapidly composed a masterful score enhancing the dramatic action both efficiently and economically. When the first play of the season was suddenly censored,


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L’Arlesienne was quickly prepared and presented as the season opener on October 1, 1872. Despite the merits of this Parisian production, it was received apathetically by the audience and ignored by the music critics; it closed after twenty-one performances to largely empty houses. Ten years after Bizet’s death, the production was given a very successful revival and entered the permanent repertoire of the Odeon Theater in Paris.

Daudet employed an interesting theatrical device in this play; the Woman of Arles never actually appears on stage, but her presence is constantly perceived. The story revolves around the inner conflict of Frederi, a Provencal farm boy who has fallen in love with a worldly girl from the neighboring town of Arles. When he becomes aware that she is the mistress of a local tough, his mental stability is shattered. One of the most affecting sections of the play is the point at which the bereft lover discusses his disillusioned love with his retarded brother, who is referred to as “L’Innocent.” In an attempt to help him regain his senses, Frederi’s mother arranges a marriage with his childhood sweetheart, Vivette. However, on the eve of his wedding, he chances to meet the paramour of L’Arlesienne; Frederi becomes so depressed that he kills himself by jumping from the loft of a barn. At the very end of the production, the younger brother is miraculously restored to his senses; thus, the mother, just deprived of a son, suddenly regains another.

A sensitive Adagietto for muted strings accompanies a dialogue of old lovers. “It creates an atmosphere of tenderest reminiscent love,” writes Charles O’Connell. “Like a bit of old lace, a faded photograph, or a cherished memento of the past, this hauntingly beautiful melody has a curious pathos that touches even the most unsentimental.”Erwin Schulhoff

b. June 8, 1894; Pragued. August 18, 1942; Wülzburg, Bavaria

Hot-Sonate, for Alto SaxophoneBranded as a creator of “Degenerate Art” (Entartete Kunst) by the National Socialists, Schulhoff ’s music was largely eclipsed throughout the middle of the 20th-century. This Nazi artistic/racial doctrine was originally articulated by a 1937 art exhibition in Munich and later, in 1938, applied more directly to music by a Düsseldorf exhibition. The concept was used to defame and suppress jazz-based and atonal music, but particularly music by Jewish composers. In addition to Schulhoff were Schoenberg, Stravinsky, Hindemith, Weill, Krenek, Schreker, Berg and TochIn the past few decades, a great deal of interest has grown around this suppressed music. In 1988, there was a recreation of the fifty-year earlier Düsseldorf exhibition with the intent of righting old wrongs against the Entartete composers. Concerts and recordings emerged, including Concertos alla Jazz, with three of Schulhoff ’s concertos, directed by Andreas Delfs (Decca 444 819-2). (The recording also contains some fascinating examples of Schulhoff performing three of his jazz-influenced piano works.)A Czech composer and pianist of German ancestry, Erwin (or Ervin) Schulhoff came from a musical family. He displayed such promise as a lad of seven that the great Antonin


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Dvorák recommended a career in music. Schulhoff began with private studies, then progressed to the Prague Conservatory and on to schools in Vienna, Leipzig and Cologne. He studied at least briefly with Max Reger and Claude Debussy and won a number of prizes for composition.

Schulhoff served for four years in the Austrian Army during World War I. As a result of those experiences, his sympathies drifted toward socialism and creatively away from his post-Romantic aesthetic stance. He ultimately became involved with the Berlin dadaists and particularly with the painter George Grosz, with whom he came to share an appetite for American jazz. Schulhoff began to use rough-cut dance forms (foxtrot, ragtime, one-step, etc.) as a way of lampooning elitist music.

Around 1930, he moved back to Prague, working as a composer, piano soloist and publicist. Schulhoff also began to work for various European radio stations, gaining a fair amount of success and recognition. He responded to a commission from Berlin Radio with the Hot-Sonate in 1930; Schulhoff played the piano on the premiere, along with American saxophonist, Billy Barton. This concise work is cast in four movements; its bluesy third movement is particular popular, while its energetic finale is revisited by themes from earlier movements.

Pedro Iturralde(b. 1929)

Pequena CzardaA Spanish saxophonist, teacher and composer, Iturralde studied at Madrid’s Royal Conservatory of Music and, in the 1970s, at Boston’s Berklee College of Music. He was a noted jazz performer and orchestral soloist in Madrid and taught at the Madrid Conservatory. A product of his youth, the “Little Czardas” of 1949 remains a popular solo work for saxophone. Alluding to the Hungarian style of the czardas, it contrasts slower, lyric phrases with the fleeting strains of a nimble dance.


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“…from the moment that the North produced a Mozart, we

of the South were beaten on our own ground because this man

rises above all nations, uniting in himself the charm of Italian

melody and all the profundity of German harmony…[He is]

the only musician who had as much knowledge as genius, and

as much genius as knowledge.”

— GIOACCHINO ROSSINI

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MASTER CLASSwith

DANIEL GAUTHIER, saxophone

Sunday, August 4, 2013 • 5:00 P.M.Woodstock Opera House

Improvization from Improvization and Caprice Eugène BozzaMike Fitzpatrick (Age 19) Lakewood (1905-1991)

Sonata Henri EcclesLuke Hess (Age 16) Woodstock Arr: Sigurd M.RascheJang Eun, Accompanist (1640-1650)

Concerto in C Minor for Oboe Alessandro Marcellotransposed for Soprano Saxophone (1684-1750) Allegro moderato AllegroJonathon Zoia (Age 16) WoodstockAnita Tebo, Accompanist

Concerto in E-flat Major for Alto Saxophone Alexander Glazunov Allegro (1865-1936) Andante AllegroGrant Stec (Age 18) WoodstockAnita Tebo, Accompanist

This Master Class is supported by generous contributions from Debra and Richard Naponelli and an Anonymous donor.

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We Salute Our

ENCORE CIRCLE MEMBERS$1,000 or More Contributorsto The Woodstock Mozart Festival

$10,000Jane and Robert Barkei

$5,000 - $9,999 James M. Benson

Louise and Erv LeCoqueAptarGroup Charitable Foundation

MacArthur Fund for Arts and Culture

$2,500 - $4,999City of Woodstock

Gaylord and Dorothy Donnelley FoundationHome State Bank

Illinois Arts Council Dr. James G. Haughton and Vivian B. Sodini

Lynn and Ray PensingerIsabel and Mark Shiffer

Marengo Tool and Die Works, Inc.

$1,000 - $2,499 Anonymous Amy and Al OttensElli and Joseph Emmons Mary Ellen and Ed Streit Kay and Jack Grossman Carol and Frank SvobodaCharles Mehlman and Tom and Sonia SvobodaMaija Mizens Susan and Gilbert Tauck Debra and Richard Naponelli Anita and Charlie Whalen Geri and Ronald Yonover

The ENCORE CIRCLE is a special recognition association of generous contributors

who have made a gift or pledge of $1,000 or more in a 12-month period.

In recognition of their special commitments,The Woodstock Mozart Festival Board of Directors thanks these donors.

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P R O G R A M I I I

Special Recognitionand Appreciation to...

Louise and Erv LeCoqueIsabel and Mark Schiffer

&Marengo Tool and Die Works

for sponsoringthis weekend’s concerts.

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PROGRAM IIISaturday, August 10, 2013 • 8:00 P.M.Sunday, August 11, 2013 • 3:00 P.M.


IGOR GRUPPMAN, violinist and conductorVESNA GRUPPMAN, viola

Divertimento in F Major, Wolfgang Amadeus MozartK. 125c [138] I. [Allegro] II. Andante III. Rondo: Presto

Symphony No. 45 in F-sharp Minor, Franz Joseph HaydnFarewell I. Allegro assai II. Adagio III. Menuet: Allegretto IV. Presto - Adagio


Sinfonia Concertante Wolfgang Amadeus Mozartin E-flat Major for Violin and Viola,K. 320d [364] I. Allegro maestoso II. Andante III. Presto

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AUGUST 10-11

IGOR GRUPPMAN,violinist and conductorUkrainian violinist Igor Gruppman enjoys a multi-faceted career as soloist, conductor, orchestra leader and chamber musician. Currently he serves as concert master of the

Rotterdam Philharmonic Orchestra, and in the United States, as Principal Conductor of the Orchestra at Temple Square in Salt Lake City. He is invited frequently as guest concert master and as conductor of the Rotterdam Philharmonic, and the Mariinsky Theater Orchestra and Chamber Orchestra. With the Mariinsky Chamber Orchestra and Mariinsky Stradivari Orchestra, he also appears regularly as violin soloist and violinist and conductor. Mr. Gruppman has collaborated with and been influenced by important conductors: George Solti, Valery Gergiev, Mstislav Rostropovich, Sir Colin Davis, Sir Simon Rattle and Bernard Haitink.

He sometimes shares the podium with Maestro Gergiev, and in 2009, he was invited by him to conduct the Mariinsky Stradavari Orchestra on a tour of Asia. In that part of the world, he also has been invited for conducting engagements with the Tokyo NHK and Seoul Philharmonic Orchestras.

Mr. Gruppman appeared in an all-Mozart program at the De Doelen Great Hall in Rotterdam where, in addition to conducting, he gave the Netherlands premier of Mozart’s recently reconstructed Concerto for Violin and Piano with pianist Ronald Brautigam. He has since been asked by the orchestra to conduct his own series of concerts, and was the conductor of the orchestra’s 2010 and 2011 proms series.

Igor Gruppman’s discography is extensive on the Naxos, Koch, and Video Artist International labels. He is a graduate of the Moscow Conservatory where he studied with Leonid Kogan and Mstislav Rostropovich followed by studies with Jascha Heifetz in Los Angeles. He is now on the faculty of the Rotterdam Conservatory.

In 2010 Igor and his wife, Vesna, premiered Paul van Brugge’s Double Concerto for Violin and Viola with the Temple Square Orchestra, commissioned by the Dutch Performing Arts Foundation. The Gergiev Festival of Rotterdam commissioned another work by Mr. Brugge which was performed at the 2012 festival. It was a unique work in that it asks both artists to improvise, and it also used Vesna’s voice. In 1994 the Gruppman Duo won a

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Grammy Award for their recording of Malcolm Arnold’s Concerto for two violins which they performed at the Festival in 2012.

Mr. Gruppman plays the 1731 “Julles Garcin” Stradivarius violin generously provided by the Erasmus Foundation.

“Command of the baton, elegant musicianship, powerful music making.” - KOREAN DIGEST

VESNA GRUPPMAN, violaVesna Gruppman’s solo career began when she was a teenager. By the age of sixteen, she had performed as soloist with several ensembles including the Munich Chamber Orchestra, the Moscow Philharmonic and the Prague Philharmonic. She also received the First Prize at the Jaroslav Koci-n International Violin competition in Russia and was the first artist to win the National Violin Competition in her native Yugoslavia six times in a row.

A graduate of the Moscow Special School of Music, Ms. Gruppman received a doctorate in performance and pedagogy from the Moscow Conservatory where she studied with legendary teachers: David Oistrakh, Yuri Yankelevich and Igor Bezrody. As testimonial to an active performing schedule, Ms. Gruppman has appeared as soloist and chamber musician with the Dallas Symphony, Edmonton Symphony, San Diego Symphony, National Philharmonic Orchestra of Ukraine, the Rotterdam Philharmonic Strings and Mariinsky Orchestra as well as in recitals at Wigmore Hall and St. John’s Smith Square in London, Hermitage Hall in Amsterdam, Kiev’s Philharmonic Hall and the Mozart Hall in Prague.

Her solo and chamber music recordings have received generous reviews in international publications: Gramaphone, American Record Guide, Classical Disc Digest and The Strad Magazines. In 2009 Video Artists International featured Ms. Gruppman as a soloist and chamber musician. And in 2010 the Netherlands Performing Arts Foundation awarded a commission to Vesna and Igor Gruppman for composer Paul van Brugge’s concerto for Violin, Viola and Orchestra. The premier took place in March 2011 with the Orchestra at Temple Square in Salt Lake City.

Ms. Gruppman’s 2012 -2013 season featured recital and chamber music tours of Asia and the United States and a new DVD release for Video Artists International. Vesna Gruppman is a professor of Violin and Viola at the Rotterdam Conservatory. She and her husband Igor are co-founders of the Gruppman International Institute.

“…drive and passion…deft balance, elegant phrasing and burnished shimmer…” – LA TIMES

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PROGRAM III NOTESNotes by Roger Ruggeri © 2013

Wolfgang Amadeus Mozartb. January 27, 1756; Salzburgd. December 5, 1791; Vienna

Divertimento in F major for Strings, K. 138After returning to Salzburg in 1772 from a two-year tour of Italy, Mozart composed three works for strings that he may have intended to use at some unspecified point in his next Italian trip. The title of these works has provided some consternation for subsequent generations, for Mozart left the top of his scores blank; a later hand inscribed the word Divertimento. Undoubtedly, Mozart would not have objected to this designation, for he was never very strict about the musicological differentiation between divertimenti, cassations, serenades and other entertaining works for orchestra.

Armed with the certainty of historical perspective, the eminent Mozart scholar, Alfred Einstein, observed that “a divertimento should have two minuets, and these three works have no minuets at all. Each contains three movements; in two of the works the slow movement is in the middle, in one it is at the beginning. They are simply symphonies for strings alone, without oboes and horns; or rather they tend towards the symphonic style in the same degree that Mozart’s first quartet had tended towards the chamber-music style. I believe that Mozart wrote them in preparation for the last Italian journey, in order not to be disturbed during the composition of Lucio Silla [an opera] if symphonies should be demanded of him, and that he would then have added wind-instruments to the outer movements on the spot in Milan, according to need and feasibility. The keys chosen are evidence for this supposition.”

Remarking upon the “purely symphonic” quality of this F major divertimento’s first movement, Einstein contrasts its following Andante and Presto as being “more delicately formed.” Calling the final rondo “very aggressive,” Einstein points out that the fact that it contains a minor-key episode “á la Johann Christian [Bach].” Summarizing his definition of these three delightfully all-purpose string works, Einstein concludes: “These are not opera-sinfonias but Italian symphonies for use at concerts, written for the salon of Count Firmian, the Governor-General of Milan.”

Franz Joseph Haydnb. March 31, 1732; Rohraud. May 31, 1809; Vienna

Symphony No. 45 in F-sharp minor, “Farewell”Of the many stories about Haydn, few are regarded as fondly as the one involved with the creation and first performance of the “Farewell” Symphony…this, of course, does not make the story absolutely true in the unsentimental light of modern scholarship. There are several versions of the story; one of the most charming is that of Albert Dies, who in

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Program III Notes Continued—

the journal of his May 11, 1805, visit with the old composer, writes: “It would be very interesting to trace more accurately from the time Haydn entered the service of Prince Nikolaus Esterházy the circumstances attending each and every composition. But how could I manage this when age had weakened Haydn’s memory and when he often forgot the most remarkable details, or purposely said nothing about them because he held them not worth mentioning? Haydn would have passed over in silence the following story, so often and so variously recounted. I reminded him of it and asked for an explanation.

“Prince Nikolaus Esterházy spent the whole summer [1772] at Esterháza in a new palace that he was building and that later became his favorite residence. His court had to attend him there. The palace, only partly built and furnished, was not yet roomy enough for such numbers; so a selection was made, and the musicians who had to accompany the Prince to Esterháza found themselves obliged to do without the companionship of their wives for six months. They were all spirited young men who looked longingly toward the last month, the day, the hour of departure, and filled the palace with lovelorn sighs. ‘I was then young and gay and consequently no better than the rest,’ said Haydn with a smile.

“Prince Nikolaus must long since have guessed the secret wishes of his musicians. The comic goings on must even have amused him. Otherwise how could he have taken it into his head this time to lengthen by two months the usual six months’ residence?

“This unexpected order threw the ardent young husbands into despair. They stormed Kapellmeister Haydn, they begged, they implored: he must, he should do something!

“No one could sympathize with the desperate case of these married men more than Haydn, but this was not enough to find a good way out. How should he go about it? Should he present to the Prince a petition in the name of the orchestra? This would only invite laughter. He put to them a host of similar questions, but found a satisfactory answer to none.

“An ordinary man in such cases plays a silly prank; a man of talent finds a way out. Haydn had recourse to his muse, and sketched a sextet [symphony] of a new sort.

“On an evening soon after, Prince Nikolaus was surprised in the most wonderful way with this music. Right in the middle of the most passionate music, one voice ends; the player silently closes his part, takes his instrument, puts out the lights, and goes off. Soon after, a second voice ends; the player behaves the same as the first, and withdraws. Now a third ends; a fourth

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voice; all put out their lights and take their instruments away with them. The orchestra grows dark and increasingly deserted. The Prince and all the audience maintain a wondering silence. Finally the lst man but one, Haydn himself, puts out his lights, takes his music, and withdraws. A single violinist is left. Haydn had picked him to be the last on purpose, because his solo playing pleased the Prince greatly, and he would be almost forced by the art of this player to wait for the end. The end came, the last lights were put out, and [Luigi] Tomasini also went off.—The Prince not stood up and said, ‘If they all go off, we must go too.’

“The musicians had meanwhile collected in the antechamber, where the Prince found them and smiling said, ‘I understand, Haydn; tomorrow the men may all leave,’ whereupon he gave the necessary orders to have the princely horses and carriages ready for the journey.”

Even without the story, this symphony is extremely interesting. It is a product of Haydn’s Sturm und Drang (“Storm and Stress”) period (1768-72), a time when some of his works went beyond the usual bounds of classic reserve to exhibit more turbulent passions (e.g. the tense opening theme of the first movement). The fact that this work is cast in a minor key is significant; even more, that it is in the “distant” key of F-sharp minor! Even more daring is a minuet in the still more distant key of F-sharp major (six sharps). (In the days before equal temperament was the norm, keys with many accidentals were substantially more dissonant.) The instrumentation of the work is more spare than its immediate predecessors—it is about the same size as Haydn’s earliest symphonies—and reveals a certain “back to nature” movement toward simplification. Most daring of all is that Adagio final section which dwindles away to a pair of muted violins. As the composer’s biographer, Karl Geiringer, points out: “From an artistic point of view this adagio ending of a symphony in several movements was even bolder than Haydn’s attempt to teach his inconsiderate prince a lesson.”

Wolfgang Amadeus Mozart

Sinfonia Concertante for Violin, Viola and Orchestrain E-flat major, K 364 (K. 320d)A cherished product of Mozart’s early maturity, the E-flat Sinfonia Concertante has rather mysterious origins. Considering the importance and subsequent popularity of the work, it is surprising that neither the circumstances of its composition nor its first performance is a matter of record. The revised Köchel listing of 1964 (K. 320d) bears witness to the difficulty of placing this masterwork in its proper chronology. It is fairly certain that the work was written during the late summer of 1779, toward the end of Mozart’s Salzburg years. Finally published by Johann André in 1801, the original manuscript was subsequently lost. Aside from the André edition, all that exists from Mozart’s own hand is a fragmentary sketch of the first movement, with some of the cadenza material on

Continued—


◆ 47 ◆

the reverse side. Of course, these loose ends tend to be more troubling to scholars than they are to performers. However, both scholars and performers are dismayed by the fact that Mozart next started a Sinfonia Concertante in A major, for violin, viola and cello (K.A. 104/320e), but set it aside after sketching 134 measures.

The Sinfonia Concertante in E-flat was Mozart’s last effort in this combination form of symphony and concerto for multiple soloists. Written after his violin concertos, the work was regarded by Mozart scholar Alfred Einstein as the composer’s “crowning achievement in the field of the violin concerto.” Even more remarkable is the presence of the viola, for this is Mozart’s only solo use of a lovely instrument that was too often neglected in the classic era. Passed through generations of violists was Mozart’s avowed preference for playing their instrument rather than the violin. Since no information to the contrary is available, it is generally assumed that Mozart himself played the viola solo and his father, Leopold, the violin solo, when this work was premiered in Salzburg. Mozart’s writing for the solo viola is more than fair; if anything, the larger instrument is slightly favored in terms of grateful passagework. In order to ensure an equal balance of the instruments, Mozart originally wrote the viola solo part in D major with the intention that it would gain additional brilliance by being tuned up one-half tone higher than normal. It is very rare that a contemporary violist would choose to adopt this scordatura (retuning); virtually all prefer to maintain the normal tuning of their strings and play it in E-flat major.

I. Allegro maestoso; E-flat major, 4/4. Traces of Mozart’s recent travels to Mannheim and Paris echo in the orchestral exposition of the movement’s themes. The horns’ opening phrase utilizes the rhythm of a Carl Stamitz symphony, the tutti violas are divided into two parts, while the passage prefacing the soloists’ first entrance is a characteristic “Mannheim crescendo.” Entering with a long-held octave E-flat, the soloists converse through the rich thematic material of this imposing movement. After a condensed reprise of the themes, Mozart’s own cadenzas are heard; Alfred Einstein commented that they “are notable alike for their plasticity, their brevity, and their beauty--a model and a warning for posterity.”

II. Andante; C minor, 3/4. A dark passion seems to underlie the elegiac expression of the Andante. There is a poignant shift to E-flat major, but soon a shroud of Mozartean C minor envelops the gentler mood of the major mode. After a cadenza, the opening phrase returns to close the movement.

III. Presto; E-flat major, 2/4. The soloists’ sprightly rondo theme returns three times between episodes of interrelated material. The vigor and strength of this finale seems to dispel what one commentator called the “proud, dark splendor” of the earlier movements; here the music yields itself to joyous virtuosity.


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GEORGES BIZET

“There are two kinds of genius:

natural genius and rational genius.

I admire the latter immensely.

I will not hide the fact that the

former has all my sympathies.

Yes, I have the courage to prefer

Raphael to Michelangelo, Mozart

to Beethoven, and Rossini to

Meyerbeer.”

◆ 49 ◆

“No great composer will again appear among us until the

young are taught that being a genius is not enough.”

GIAN CARLO MENOTTI — On Mozart

◆ 50 ◆

MEET THE MUSICIANS

KEVIN CASE, violinThe Festival’s concert master Kevin Case performs frequently in Chicago as a soloist, chamber musician, and as concertmaster with many other ensembles including Music of the Baroque and Ars Viva. He has served as concertmaster of the Memphis Symphony, the Grant Park Symphony, and the Dallas Opera, and also has been featured as soloist with orchestras throughout North America and Canada.

Mr. Case received a Bachelor of Music degree from the Eastman School of Music where he was the teaching assistant to the renowned violinist Zvi Zeitlin.

Now an attorney as well as a violinist, he is the founder and principal of Case Arts Law LLC, a boutique law firm catering to the needs of classical musicians and other performing artists.

◆ 51 ◆

FOSS PIANOSERVICE

46W009 Keslinger Rd.Elburn, IL 60119

630-365-6440

MEET THE MUSICIANS

ELIZABETH HAGEN, violaElizabeth Hagen enjoys an active performance career on both modern and Baroque violas.

From 1995-2006, she was a member of the Cleveland Baroque Orchestra, Appollo’s Fire. Since then, her varied performance activities mark her as an active participant in Chicago’s freelance music scene where she serves as principal violist of Baroque Band, the Haymarket Opera Company and the Callipygian Players. She also is a member of Music of the Baroque, the Chicago Philharmonic, the Ravinia Festival Orchestra and the Metropolis Symphony. Other appearances have been

with Lyric Opera Chicago, the Rembrandt Chamber Players and the Newberry Consort.

Originally from Cincinnati, Ohio, Elizabeth studied music at Northwestern University and resides with her husband and two daughters in Arlington Heights.

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Attorneys at Law20 Grant Street P.O. Box 188

Crystal Lake, Illinois60039-0188

COWLIN, CURRAN AND COPPEDGE

815-459-5300 • 847-669-3000

FERRUCIO BUSONI

“Together with the puzzle, he [Mozart]gives you the solution.”

◆ 53 ◆

2013 Mozart FestivalORCHESTRA PERSONNEL

Flute Robin Fellows Dr. James G. Haughton and Vivian B. Sodini Chair

OboePhilip KochAndrea Gross Hixon

BassoonLori Babinec Charles Mehlman and Maija Mizens Chair

Peter Brusen

HornMichael BuckwalterKrystof Pipal

Trumpet Noah Lambert

Violin IKevin Case, Concertmaster Lynn and Ray Pensinger ChairGerald LoughneyCarol LahtiLaura HourtLisa Fako

Violin II Rachel HandlinTracy Jasas-Hardel Catherine BushPamela SimmonsNina Saito Erik Leveille

Viola Erin Pipal Sonia and Tom Svoboda Chair

Amanda KochElizabeth Hagen CelloNazar Dzhuryn Anonymous Donor Chair

Michael BeertRoza Borisova Bass Charles Grosz Al and Amy Ottens Chair

Jason Heath

Personnel Director and LibrarianLori Babinec

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401 Country Club Road, Crystal Lake, IL ~ 815.455.8000 ~ LakesideLegacy.org

Visit Our WebsiteConcert Schedule & Tickets Online

Lakeside Legacy Arts Park presents

August 2nd ~ September 6thGallery NightsFree ~ 5pm to 8pm ~ Art & Music

“An atmosphere that is as intimate as a house concert, with the production value of a large concert hall.”

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2013CORPORATE/FOUNDATION

DONORSThe following corporations and foundations have demonstrated exemplary

leadership to help ensure quality symphonic music in our community.

CONCERT UNDERWRITERBarkei Family Fund

Jane and Robert Barkei

SPONSOR: $5,000-$9,999AptarGroup Charitable Foundation

LeCoque Family Trust MacArthur Fund for Arts & Culture

GUARANTOR: $2,500-$4,999City of Woodstock

Gaylord and Dorothy Donnelley FoundationHome State Bank

Illinois Arts CouncilMarengo Tool and Die Works, Inc.

PATRON: $1,000-$2,499Sage Products

Ronald and Geri Yonover Foundation

BENEFACTOR: $500-$999Jack R, and Kay S. Grossman Charitable Foundation

Charter Dura-Bar, Inc.

DONOR: $200-$499Cardinal Health Foundation Matching Gift

Dianne Halpern Trust

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Supporters of the Festival2013 INDIVIDUAL DONORS

CONCERTUNDERWRITER: $10,000MarengoJane and Bob Barkei

SPONSOR: $5,000-$9,999 Crystal LakeLouise and Erv LeCoque

MassachusettsJames M. Benson

GUARANTOR: $2,500-$4,999Bull ValleyIsabel and Mark Schiffer

Crystal LakeMaija Mizens and Charles Mehlman

WoodstockDr. James G. Haughton & Vivian B. Sodini Lynn and Ray Pensinger

PATRON: $1,000-$2,499ChicagoKay and Jack Grossman

Crystal Lake Debra and Richard Naponelli

Fox River GroveCarol and Frank Svoboda Sonia and Lt. Col. Tom Svoboda

LincolnshireGeri and Ronald Yonover

MarengoSusan and Gilbert Tauck

NapervilleAnita and Charlie Whalen

RockfordAmy and Al Ottens

WoodstockElli and Joseph EmmonsMary Ellen and Ed Streit

BENEFACTOR: $500-$999Crystal LakeAnonymousMarian and Jerry MichaelsSusan and Harvey Pautz

Glen EllynJeffery Jens

WoodstockAnonymousJill B. HartmannLinda and Mark McCormick

DONOR: $200-$499ChicagoDr. Barry Levin

GlenviewNaomi Frankel

HarvardMarilyn and Richard Hahn

HuntleyJean and Jack EhlebrachtLouise KoeningLucia and Gerald LaBonte

Island LakeJudysharon Buck

McHenryBeth and Jim Wester

RockfordThomas J. Heraty

Spring GroveDianne & Ed Halpern

Continued—

◆ 57 ◆

WisconsinChristine and James Becker

WoodstockHelen and Mark AlisonNorma AndersonEsther and Robert KaplanJane and Robert KoehlerAnn KohlPolly and Ken RattnerSharon SchuhR B ThompsonMaria and Dharmvir VermaWawanna and Duke Widoff

INVESTORS: Up to $199Arlington HeightsMarlene Hayman

BarringtonKristiana and Brendan Moynihan

Barrington HillsHelen and George Hoffman

Bull ValleyDarlene Fiske

CaryPatricia and Roy Dudzik

ChicagoJudy ChapinJ. Edward HollenderNan and John Jenkins

Collegeville, PAJulie and Chuck Whalen

Crystal LakeRosemary and Robert Blazier Janel and Joseph Bottalla Eugene CzarneckiMary and Mark Eckel Hollace and Gregory Glover

Alexi and Scott HagedornSusan and Dr. Robert KesslerSusan and John LabajKay and Haskell PitluckBarbara and David ReeveJames Wicklund

DeerfieldMollie Levin

DeKalbFrancisco Solares-Larrave

ElburnPaul Meissler

ElginAiko and Gary Edmonds

Elm Grove, WIMindas Siliunas

ElmhurstKathleen and Mark Lundberg

EvanstonCamille and Kenan Altay

GrayslakeHarriet and John BigelowEwa Radwanska and John Cullinan

Green Bay, WIKaren Stanlaw and Gilbert Sandgren

Herndon, WASusan and James Justen

Highland ParkPamela and Richard Leslie

HuntleyJoyce Barker Barbara A.BonnerElsie and Richard Graves


Continued—

◆ 58 ◆


Lois KenyonMary and Richard Stack

Lake ForestKarl Velde, Jr.

LincolnwoodDrs. Charles and Concetta Zasso

MarengoMarcia M. Lockwood

McHenryJanet and Allen Kennedy

Mount ProspectiveElizabeth and John Zulaski

Mukwonago, WILori Babinec

MundeleinMarie E. Axel

NilesVivian Mitchel

Oak ParkJohn Raba

PalatineTeresa and Joseph Auer, JrMartha Kersey

SlokieNola Penn

Sunfish Lake, MNAndrea ane Stephen McCue

UnionKay and Brad Wych

WaucondaBonnie and Michael Rogers

WheatonSusan and Nichlas Riley

WisconsinCarol and Galin Berrier Anna and Leonard Bersky

Wonder LakeLinda Farris Mr. and Mrs. Richard Johnson

WoodstockRosemarie and Joseph Adler Helen and Mark AlisonBarbara T. AndreasLeonard BensonJ.H. Bilderback and M.E. CollinsBette and David ChwaliszSandy and Chris CantwellSusan and Richard EyreMaralee Gordon and Leo SchlosbergNancy JungSusan and George KazluskyBarbara KleinArlene LynesMichael T. NeeseMarsha & Sherwin PortnoyJohn Scharres and Bonnie O’NeillJared ShlaesBetty SterlingAnn and Robert Tirk

◆ 59 ◆

SPECIALACKNOWLEDGEMENTS

The Festival’s Board of Directors wishes to thank the following individuals and organizations

for their gifts-in-kind to the Woodstock Mozart Festival

The Woodstock Opera House staff for their generous assistance

Mark Foss of Foss Piano Service for tuning services

Elisabeth Crisp of Apple Creek Flowersfor Festival floral arrangements

GNT Limousine for providing complimentary travel arrangements of Mozart Festival soloists and special guests

Best Western of Woodstock for hosting our guest artists

Quality Inn of Woodstock for our staff accommodations

Steven Salzbrunn of Krea’tiv Edge for publicity design work

Jack Bechaud, The Social (net) Worker, for managing our Face Book and Twitter Accounts

Jon Wenzel of Myriad Creative Services for our new web site

Greg Dunham of Lindgren, Callihan, Van Osdol and Co., Ltd.for our financial audit

Hendricks Keyboards, Inc. of Downers Grove for use of a Yamaha Piano

WNIU for Media Sponsorship

Denise Graff Ponstein of Indepth Graphics and Printing, for donating her special efforts in the compilation of this year’s program booklet

Marsha Portnoy for her proofreading assistance

◆ 60 ◆

The Woodstock Opera House was built in 1889 to house City Hall, the public library, fire department and a second-floor auditorium. A production of the play Margery Daw presented by the Patti Rosa Company provided the inaugural performance on September 2, 1890 filling the main floor and balcony of the auditorium to capacity.

The Opera House soon became McHenry County’s center for entertainment and hospitality with touring vaudeville, minstrel, and dramatic companies providing diversion after a week’s labor. Farmers’ wives chatted among themselves in the “parlour” while their husbands attended market.

When the traveling circuits disappeared, the House became the site for the Chicago area’s first summer stock theatre. Produced in 1934 by Roger Hill, headmaster of Woodstock’s Todd School for Boys, the Shakespeare plays starred his young student, Orson Welles.

In 1947 the Woodstock Players was formed by citizens and provided acting experience for students graduating from the Goodman School. Now-famous personalities Paul Newman, Tom Bosley, Betsy Palmer, Geraldine Page, Shelley Berman, and Lois Nettleton were among them.

In 1972 the Opera House was declared a “landmark” by the city. It was later closed for two years of restoration work. It re-opened in February 1977 and was renamed the Woodstock Opera House Community Center. The Opera House was considered fully restored with the final addition of the front Portico in 1999.

The building continues to be owned and proudly maintained by the City of Woodstock and local residents. It features historic fur-nishings, stained glass windows, tin ceilings, original woodwork and hand drawn stencil ornamentations.

In 2003 a new annex was completed. It provides disability access, a freight elevator, back stage areas, offices and the Stage Left Café. This important addition ensures a new century of per-formances and an artistic outlet to service the people of McHenry County and northern Illinois.

◆ 61 ◆

The Woodstock Opera HouseThe Woodstock Opera House is owned and proudly maintained

by the City of Woodstockas a service to the public.

WOODSTOCK CITY COUNCILDr. Brian Sager, Mayor

COUNCIL MEMBERSJulie Dillon, Maureen Larson,

Mark Saladin, Joseph Starzynski,RB Thompson, Michael Turner

Roscoe Stelford, City Manager

WOODSTOCK OPERA HOUSE STAFFManaging Director...........................................................John H. ScharresProduction Manager ...............................................................David ReeveTechnical Assistant .............................................................Scott CreightonBuilding Manager ............................................................. Mark GreenleafOffice Manager ...........................................................Lorraine SteinkampBox Office Manager .........................................................Daniel CampbellBox Office Assistant .......................................................... Gerri Granzetto House Managers ..............................................................Debbie Spitzbart

Nancy CantyFacility and Events Workers

◆ 62 ◆

1776 RestaurantApple Creek FlowersAptar GroupAurora University-Woodstock CenterBaxter & Woodman, IncBenjamin F. Edwards & Co.Best Western, WoodstockBundling Board InnCelsis InternationalCowlin, Curran & CoppedgeDesigns by Maida Foss Piano ServiceFox Frame ShopFranks, Gerkin & McKenna PCGNT Limousine ServiceGummerson, Rausch, Wand, Lee, Wombacher, LLCJaci’s CookiesLa Petite Crêperie

Lakeside Legacy ParkMaples at the SonatasMarsha Portnoy, WriterMartin Johnson Tax & FinancialMerrill LynchMusic Makeovers for Life, Inc.Northern Public RadioPhoenix Woodworking Corp.Read Between the LynesStage Left CaféStudio 2015 JewelryThe Oaks Dental CenterThe Players BenchWells Fargo AdvisorsWipfliWoodstock Fine Arts AssociationYamaha Artist ServicesYoung Masters

WOODSTOCK MOZART FESTIVAL2013 Advertisers

◆

◆

A special note of thanks to all of our advertisers. We encourage our audience to patronize

these festival supporters.

LIKE us on

“Did you know you can now connectwith the Woodstock Mozart Festival on Facebook?” That’s right, the Mozart Festival is available online

with photo galleries, articles, and great messages about us. “Like” us here www.facebook.com/WoodstockMozartFestival

to get updates about the festival.

◆ 63 ◆

The Bull Symbol, Merrill Lynch Personal Investment Advisory, Merrill Lynch Wealth Management and The Power of the Right Advisor are trademarks or registered trademarks of Bank of America Corporation.CIMA® is a registered certification mark of Investment Management Consultants Association, Inc.Merrill Lynch Wealth Management makes available products and services offered by Merrill Lynch, Pierce, Fenner & Smith Incorporated, a registered broker-dealer and member SIPC, and other subsidiaries of Bank of America Corporation. © 2013 Bank of America Corporation. All rights reserved.AD-05-13-0487 AR75S0X5-07-12 444614PM-05/2013

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◆ 64 ◆

Proudly Supports the Woodstock Mozart Festival

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September 135:oo p.m. - 11:oo p.m.

Rocktoberfestwith HANS &

THE HORMONESA rockin’ good time!

$1o in advance (each day)

$12 at the door (each day)TicketsTickets Available at:• The Woodstock Independent• Woodstock Public House

21 and older event after 9:00 p.m.www.tix4cause.com(must be accompanied by an adult)

September 1411:3o a.m. - 11:oo p.m.

OktoberfestDIE MUSIK MEISTERS

& LET’S DANCEPlus fun family activities!

Search:Woodstock Oktoberfest

• Bohn’s Ace Hardware• Any Woodstock Rotarian or Mozart Board MemberAvailable online at:

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Kids under 18 - FREE –

SPONSORED BY:

Rotary Club of Woodstock

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