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Sphinx Virtuosi featuring: Catalyst Quartet Danielle Belen, violin Paul Laraia, viola Friday, October 7, 2011 7:30 pm Aycock Auditorium Program Fuga Criolla Juan Bautista Plaza (1898-1965) Divertimento for Strings (last movement) Béla Bartók (1881-1945) Passacaglia for Violin and Cello Handel/Halvorsen (1864 -1935) Danielle Belen and Paul Laraia String Quartet No. 2 Michael Nyman I. (b. 1944) String Quartet No. 2, Op. 26 Alberto Ginastera V. Furioso (1916-1983) Catalyst Quartet Intermission Last Round Osvaldo Golijov (b. 1960) Generations Sinfonietta No. 2 Coleridge-Taylor Perkinson III. Alla Burletta (1932-2004) Ricercare a 6, NWV 1079 Johann Sebastian Bach (1685-1750) Death and the Maiden (last movement) Franz Schubert (1797-1828) arr. Gustav Mahler Program Notes Fuga Criolla, Juan Bautista Plaza Juan Bautista Plaza Alfonso was a classical composer, initially educated as a medical doctor. He eventually dedicated himself to music fully, and in the 1920’s, earned a degree in Rome as the composer of sacred music. Upon his return to Venezuela, he taught music history at the Superior Music School in Caracas. Fuga Criolla is one of his most important and most known compositions for strings. The work, written in 1931, was originally scored for a string quartet, and later arranged by the composer himself for string orchestra (the latter version is heard more often today). Plaza demonstrates his mastery and love of counterpoint, with the fugue itself as a form echoing a tradition immortalized by Bach. Yet, there are very clear folk overtones, with Plaza’s reference to Joropo (a national dance form), which adds a great deal of charisma to this memorable piece. The original title, later changed by the composer, read “Fugue on Venezuelan Folk Melodies”. Divertimento for Strings (last mvt), Béla Bartók A great pianist, Bartok is regarded today as one of Hungary’s most important composers. Throughout his career, Bartok has studied and incorporated folk tradition of his native Hungary and neighboring countries into his music. The Divertimento for Strings is a three-movement work composed in 1939. The work was commissioned by Paul Sacher, a Swiss conductor, patron, impresario, and the founder of the Basel Chamber Orchestra. The Finale (third movement), heard today, is a fast, lively movement rondo form. The movement is fiery in character, with dance-like elements. It is also less harmonically complex, or dissonant than the previous movements. The contrast of solo parts and full orchestra creates a dynamic feel to the movement, which also features a full fugue. One additional feature of note is a dramatic, declamatory cadenza for violin. The ending resembles his timeless string quartets: fast passages culminate in a furious, effective ending. Passacaglia for Violin and Cello, Handel/Halvorsen Johan Halvorsen was an important figure in Norwegian musical life. A composer, conductor and violinist, he was educated in Oslo, Stockholm, St. Petersburg and beyond. Halvorsen was a composer of the Romantic period, nationalist movement. As a violinist, he performed in the legendary Gewandhaus Orchestra, as well as serving as concertmaster for Scotland and Aberdeen Orchestras. As conductor, he directed 30 operas and incidentals music for nearly 30 plays. As a composer he left a legacy of dozens of orchestral works, volumes of incidental music, and operetta and significant amount of chamber music, among which, is an arrangement for violin and viola (also played on cello) of Handel’s Passacaglia. A Passacaglia is a popular Baroque dance form featuring a series of repetitive figures in a single phrase. Although the passacaglia is often in triple meter, this one is written in two (and four). Halvorsen’s arrangement is luscious, virtuosic, dazzling, and rather memorable. It skillfully features both instruments as solo lines, showcasing the best aspects of each. A masterful way to immortalize Handel’s beautiful melody! String Quartet No. 2, I., Michael Nyman An English minimalist composer, pianist, musicologist and librettist is known for a variety of music, including his numerous film scores. His has written a number of operas, including The Man Who Mistook his Wife for a Hat, Facing Goya, and others. He also wrote a number of concertos, and a variety of chamber works, highlighting four strings quartets. Composed in 1988, this work was commissioned by famed contemporary dancer, Shobana Jeyasingh, as a solo dance work: Miniatures. It was first performed by her with the Balanescu Quartet on 15th September 1988 at the Palace Theatre, London. Nyman writes: “I instantly decided that the string quartet was the ideal medium: partly because it is quintessentially European to be rooted in Indian rhythms (it should in no way sound Indian); partly because the different rhythmic functions ascribed to each of the instruments in the Indian ensemble which traditionally accompanies Bharata Natyam were most successfully transferred to stringed instruments…”. The movement performed here carries rhythmic integrity, which sustains consistent energy, holding the listener captive. In particular, Nyman’s work resonates well with Catalyst Quartet’ own exploration of the contemporary aesthetic, which incorporates minimalism, among other schools of thought. String Quartet No. 2, Op. 26, V. Furioso, Alberto Ginastera Alberto Ginastera is a prominent figure on scene of Latin American composers. Born in Argentina, he thought of his own music in three different stages, or periods: "Objective Nationalism" (1934–1948), "Subjective Nationalism" (1948–1958), and "Neo- Expressionism" (1958–1983). He composer in a classical tradition, but throughout the periods, he explored a variety of ways in which he incorporated the influences of traditional Argentine music into his original compositions. One of his most notable students was Astor Piazzolla, a well-known composer who immortalized the tango in and beyond the classical tradition. He authored three operas, two ballets, over a dozen orchestral works, and made a number of great contributions to the chamber repertoire. String quartet No. 2, opus 26, was commissioned by the Elizabeth Sprague Coolidge Foundation and premiered by the Juilliard Quartet at the 1958 Inter- American Music Festival in Washington, D.C. It was written toward he end of his second period, or stage, where he explored with the twelve-tone system. He composed this work, mirroring Bartok’s string quartets, in five movements, in “arch form” (he greatly admired Bartok’s quartets). Uniquely, each movement is assigned not only a tempo, but also, a mood indication. The final movement, Furioso, is full of fire, drama and endless energy. Last Round for Two String Quartets and Doublebass, Osvaldo Golijov Osvaldo Golijov grew up listening to the music of Astor Piazzolla, which moved him deeply. As a young person, Golijov studies piano and composition. He has studies in Israel as well as US, under such greats as George Crumb, Oliver Knussen and Lucas Foss. This incredible masterpiece is inspired by the great Astor Piazzolla, as well as the St. Lawrence String Quartet, a group that is favored by the composer. Tragically, Piazzolla’s terminal illness was the original event, which precipitated the birth of the slow movement of the work. With the encouragement from the St. Lawrence Quartet, Golijov finished the work in 1996, scoring it specifically for its current instrumental configuration, and preceding the slow movement with a fiery, fast movement. Following is an excerpt from the liner notes of the magnificent recording by St. Lawrence Quartet, from Golijov himself: “The title is borrowed from a short story on boxing by Julio Cortázar; the idea was to give Piazzolla's spirit an imaginary challenge to fight one more time (he used to get into fistfights throughout his life). The piece is conceived as an idealized bandoneon. The first movement represents a violent compression of the instrument and the second a final, seemingly endless opening sigh (it is actually a fantasy over the refrain of the song "My Beloved Buenos Aires," composed by the legendary Carlos Gardel in the 1930s). But Last Round is also a sublimated tango dance. Two quartets confront each other separated by the focal bass, with violins and violas standing up as in the traditional tango orchestras…” Generations Sinfonietta No. 2, III. Alla Burletta, Coleridge-Taylor Perkinson Coleridge-Taylor Perkinson shares the following information directly in the score for this piece: The inspiration for this composition, though non-programmatic, is somewhat autobiographical in that it represents my attempts at what were and are my relationships to members of my family - past and present. While each of the movements is without a strict “formal” mode, an informal analysis of their structures is as follows: I. Misterioso and Allegro (to my daughter) is based on two motifs: the B-A-C-H idea (in German these letters represent the pitches B-flat, A-natural, C-natural, and B-natural), and the American folk tune “Mockingbird,” also known as “Hush Li'l Baby, Don't Say a Word.” II. Alla sarabande (sarabande, a 17 th and 18 th century dance in slow triple meter) is dedicated to the matriarchs of my immediate family (of which there were for me, three), each of whom contributed a unique form of guidance for life's journey. III. Alla Burletta (to my grandson). A burletta is an Italian term for a diminutive burlesca or burlesque-type work - a composition in a playful and jesting mood. Thematically, this movement is based on the pop tune “Li'l Brown Jug.” IV. Allegro vivace. This movement is a loosely constructed third rondo, which thematically begins with a fughetta (original melody), has a second theme (African in origin), and a third theme (“Mockingbird” paraphrased). Once again, the B-A-C-H idea from the first movement is the musical thread that ties these elements together. This movement is dedicated to the patriarchs of my family, known and unknown, past, present and future, for generations. How fortunate for us to have been left with such a descriptive intent behind this genius’s work! The Sinfonietta is full of substance, contrast, beauty. In the Alla Burletta movement, listen for humor in the syncopated pizzicatos from each string section. The work with its clear jazz influences will lift your spirits, and the surprise ending is sure to leave any listener with a sense of effervescent delight! Ricercare a 6, BWV 1079, J.S. Bach This fabulous piece is a key component of the Music Offering collection by Bach, who was, arguably, the most important Baroque composer in history. When visiting his son, C.P.E. Bach, at the court of Frederick he II, the elder Bach was presented with a theme written by the king. As a result, he accepted the challenge to improvise a 3- voice fugue on the spot. Later, Bach used the theme as the foundation for a grouping of fugues and canons, which came together on one of the greatest baroque collections know throughout music history, Musikalisches Opfer (Musical Offering), dedicated to the king. Besides the three-part fugue that he improvised on the spot, Bach also created a version for six voices, dubbing both selections Ricercari. (Ricercare translates from Italian as “to seek out”). Curiously, he did not specify the exact instrumentation for the voices. A variety of composers, like Anton Webern, have arranged this incredible work for different instruments. In 1926, Gustav Lenzewski (1857-1928), arranged Ricercari a 6 for strings. The theme itself is sonorous, stoic, dramatic, or imposing, depending upon each voice and their respective entry throughout the work. It is very chromatic, and the incredible harmonies create an unparalleled effect when all voices interact with one another, after the initial entry. Despite the general C Minor layout, he piece ends in a blissful C Major, not uncharacteristic for Bach. Death and the Maiden, Franz Schubert (arr. Gustav Mahler) Although he died at a very early age of 31, this Austrian composer of the Romantic era is admired as one of the leading and most significant composers. He was also incredibly prolific, having written nine symphonies, operas, solo piano music, volumes of chamber music, and 600 Lieders (songs). The musical world began to study and appreciate Schubert’ music much more actively after his death. Composers like Schumann, Brahms and Mendelssohn helped bring many of his works to light for the public. Another important Austrian composer, Gustav Mahler, was known to make alterations to the scores he would conduct. Upon studying the score of Schubert’s timeless masterpiece, a string quartet “Death and the Maiden”, Mahler obtained a score and began to make specific notations on how the quartet could be arranged for string orchestra. In fact, he left a score, which was a treasure with specific indications, while not complete arrangement. After the composer’s death, Mahler’s daughter shared the incomplete arrangement with the Mahler scholars; David Matthews and Donald Mitchell. The pair then followed Mahler’s notes and instructions, essentially, finishing the process and creating an actual score. This version of Schubert’s Death and the Maiden has graced the stages of concert halls worldwide since 1984. Schubert wrote the quartet in 1826. The title Death and the Maiden is suggestive, as theme of death is a central one. The text is authored by Matthias Claudius, which tells an old tale. Death is imposing itself upon a bride, and should the latter not accept, Death threatens to take her groom away on the day of the wedding. Terrified, the Maiden begs Death to leave, while Death persists and attempts to comfort the Maiden. Each movement is powerful, descriptive, telling and unmistakably memorable. The final Rondo-Finale is a perpetual dance, full of terror, obsessive rhythm, echoes from the earlier movement, all rushing frantically to a dramatic end. The Artists The Sphinx Virtuosi, formerly known as the Sphinx Chamber Orchestra, is a conductorless ensemble of soloists, comprising top alumni of the national Sphinx Competition for young Black and Latino string players. This unique group earned rave reviews in December of 2004, during its highly acclaimed debut at Carnegie Hall. In The New York Times, Allan Kozinn described the performance as “first-rate in every way” and the ensemble to have “produced a more beautiful, precise and carefully shaped sound than some fully professional orchestras that come through Carnegie Hall in the course of the year.” The ensemble has returned to Carnegie Hall annually since 2006 to present outstanding programs to sell-out audiences of over 2,800, and earning further praise from The New York Times for each performance. Sphinx Virtuosi also earned critical acclaim during its historic inaugural national tour, which included performances at Krannert Center, Harris Theater, Penn State and several other key venues. During its second annual tour in 2009, the ensemble was praised by critics for their “technical prowess,” and for playing with “utmost sensitivity and intelligence to the musical detail, large and small.” That year, Sphinx Virtuosi performed in 13 venues across the country, increasing their appearances by more than 50 percent in just one year. Inspired by Sphinx’s overarching mission, the Sphinx Virtuosi works to advance diversity in classical music while engaging young and new audiences through performances of varied repertoire. They perform masterpieces by Bach, Tchaikovsky, Vivaldi and Mozart, alongside seldom presented works by composers of color, including Coleridge-Taylor Perkinson, George Walker, Michael Abels and Astor Piazzolla. Members of the Sphinx Virtuosi have completed and continue to pursue their studies at the nation’s top music schools, including Juilliard, Curtis, Eastman, Peabody, Harvard, and the University of Michigan. Additionally, several members hold positions in professional orchestras, including the Oregon, Grand Rapids and San Antonio symphonies. Members of the roster have been named laureates of other prestigious international competitions, including Queen Elisabeth Competition and the Yehudi Menuhin International Violin Competition. A number of Sphinx Virtuosi members have appeared as soloists with major orchestras, including the New York Philharmonic, Cleveland and Philadelphia Orchestras, and Detroit, Atlanta, Seattle, and Pittsburgh Symphonies among others. Sphinx Virtuosi is looking forward to presenting vibrant programming in venues across the country during its fourth annual national tour. The Sphinx Virtuosi, a Sphinx Ensemble, is represented in North America by California Artists Management, http://www.calartists.com/. The Catalyst Quartet Hailed by The New York Times in their Carnegie Hall debut as “invariably energetic and finely burnished…playing with earthy vigor,” the Catalyst Quartet comprises top Laureates and alumni of the internationally acclaimed Sphinx Competition for young Black and Latino string players. The ensemble’s mission is to advance diversity in classical music and inspire new and young audiences with dynamic performances of cutting-edge repertoire by a wide range of composers. Founded by the Sphinx Organization, the Catalyst Quartet combines a serious commitment to diversity and education with a passion for contemporary music. In the summer of 2011, the Catalyst Quartet studied with the renowned Juilliard String Quartet. The quartet has held residencies both domestically and abroad. In addition to serving as principal faculty at the Sphinx Performance Academy at Oberlin College and Roosevelt University in Chicago, the quartet has recently held residencies in London in partnership with In Harmony England and South Africa in partnership with University of Witwatersrand and University of South Africa (UNISA). The Catalyst Quartet members are also visiting teaching artists at the Sphinx Preparatory Music Institute, hosted by the Detroit Symphony Orchestra. The Catalyst Quartet has been featured in The Strad and Strings magazines, as well as on Detroit’s WRCJ, and maintains an active performing schedule. In fall 2011, the quartet will lead the Sphinx Virtuosi on a national tour, which will include a return to Carnegie Hall on October 12. Inspired by music’s ability to transform, the Catalyst Quartet seeks to change the way that classical music is perceived through diverse programming for a wide range of audiences. Catalyst Quartet, a Sphinx Ensemble, is represented in North America by California Artists Management, http://www.calartists.com/. The Catalyst Quartet proudly endorses Pirastro strings. www.pirastro.com Catalyst Quartet Members: Bryan Hernandez-Luch, violin Karla Donehew-Perez, violin Christopher Jenkins, viola Karlos Rodriguez, cello Karlos Rodriguez plays on a cello by Gregg T. Alf on generous loan from the maker. www.alfstudios.com. Karla Donehew Perez performs on a fine violin by Charles and Samuel Thompson, London 1774, on generous loan from Patricia Press Nissen in memory of Alvera and Dudley Warner-Press, and a fine violin bow by Victor Fetique on generous loan, through the Rachel Elizabeth Barton Foundation. Danielle Belen, violin Winner of the 2008 Sphinx Competition and Naxos recording artist, Danielle Belen has soloed with symphonies across the U.S. including the Pittsburgh, Atlanta, Nashville and San Francisco Symphonies, the Boston Pops, and the Florida and Cleveland Orchestras. Now on faculty at the Colburn School of Music with a growing violin studio of her own, she works under renowned master teacher Robert Lipsett. Her special love is teaching young aspiring talent and developing community events in conjunction with her professional performances. Ms. Belen is the founder and Artistic Director of Center Stage Strings, a summer camp and performance festival for gifted young musicians in Three Rivers, California. Ms. Belen plays on a 1709 Allessandro Gagliano violin from the Mandell Collection of Southern California. Please visit www.BelenViolin.com for more information. Paul Laraia, viola Regarded for his extraordinary grasp of phrasing, character, and color, violist Paul Laraia has performed concerts at Carnegie Hall, Jordan Hall, Concert Hall Frits Philips, the Strathmore Arts Center, the Max M. Fisher Music Center, the Kimmel Center’s Verizon Hall, and has been featured multiple times performing on National Public Radio and Detroit Public Television. Chamber music has always been extremely close to Paul's heart. He has performed at the Sarasota Music Festival, National Orchestral Institute, and Yellow Barn Festival, where he collaborated with acclaimed artists such as Donald Weilerstein, Roger Tapping, Anthony Marwood, Michael Kannen, Maria Lambros, Natasha Brofsky, and Mark Hill. He will be recording his debut CD on White Pine label Paul plays on a 17-1/4" viola by Douglas Cox in the style of Gasparo da Salo, provided by Mr. Cox through the Sphinx Instrument fund program, www.coxviolins.com ABOUT SPHINX The Sphinx Organization is the Detroit-based non-profit arts and youth development organization dedicated to building diversity in classical music. Founded in 1996, Sphinx envisions a world in which classical music reflects cultural diversity and plays a role in the everyday lives of youths. The organization’s mission is: v To increase the participation of Blacks and Latinos • in music schools • as professional musicians • as classical music audiences v To administer youth development initiatives in underserved communities through music education v To promote the creation, performance, and preservation of works by Black and Latino composers The organization’s founding and mission were informed by the life experiences of Aaron Dworkin, the organization’s founder and president. As a young, Black violinist, he was acutely aware of the lack of diversity both on stage and in the audience in concert halls. He founded Sphinx while a graduate student at the University of Michigan. Today, according to the League of American Orchestras, less than 5 percent of the musicians in our nation’s professional orchestras are Black or Latino. In 1998, the organization hosted the first Sphinx Competition for young Black and Latino string players. The competition quickly gained the attention of many notable musicians, including the late Isaac Stern, who attended the 1998 Sphinx Competition and invited several Sphinx Laureates to his studio for private coachings. Today, Sphinx programs reach over 85,000 students, as well as live and broadcast audiences of over two million annually. Since the first Sphinx Competition, the organization has grown to include five programming areas: v Artist Development highlights the annual Sphinx Competition for young Black and Latino string players, a professional development program, and several scholarship initiatives. v Sphinx Performance Academy offers intensive summer training to young Black and Latino musicians who lack access to quality music education. The program operates at Roosevelt University in Chicago and Oberlin College. v Sphinx Legacy Project creates, promotes, disseminates, and preserves works by Black and Latino composers through the Sphinx Commissioning Consortium, the Sphinx Journeys radio program, the Sphinx Library, and Classical Connections, an in-school curriculum initiative. v Sphinx Presents! provides professional performance opportunities for Sphinx artists in venues nationwide including an annual national concert tour by the Sphinx Chamber Orchestra and concerts at Carnegie Hall. v Sphinx Preparatory Music Institute provides Detroit-area youths with yearlong classes in performance, music theory, ear training, and music history with an emphasis on Black and Latino composers. Overture Division of Sphinx Prep offers free violins and lessons to students in underserved communities of Detroit and Flint. As the organization has grown, so has its acclaim. Sphinx has been featured in The New York Times, Newsweek, People magazine, The Detroit Free Press, and on National Public Radio and NBC’s Today show. In addition, the annual Sphinx Competition is broadcast by Detroit Public Television, and syndicated to PBS stations nationwide. Aaron Dworkin’s work as Founder and President of the Sphinx Organization has also been recognized. He was named Michiganian of the Year by The Detroit News in 2003, one of Detroit’s “40 Under 40” by Crain’s Detroit Business, and was given the Detroit Symphony’s Lifetime Achievement Award. In 2005, the John D. and Catherine T. MacArthur Foundation honored him with a prestigious MacArthur Fellowship. In 2010, he was nominated by President Obama to serve on the National Council on the Arts. For more information please visit our website at www.SphinxMusic.org or call 313.877.9100 Sphinx Virtuosi Joel Smirnoff, Artistic Advisor (President of Cleveland Institute of Music, former member of Juilliard Quartet) Violin I Bryan Hernandez-Luch, Concertmaster Maureen Conlon-Gutierrez Kyle Lombard Ade Williams Isabel Escalante Violin II Karla Donehew-Perez, Principal Amyr Joyner Sheena Gutierrez Scott Jackson Viola Christopher Jenkins, Principal Paul Laraia III Kaila Potts-Smith Jason Amos Cello Karlos Rodriguez, Principal Jared Snyder Adrienne Taylor Bass Eric Thompson, Principal Jonathan Colbert The Sphinx Virtuosi would like to thank the following generous sponsors: Fiscal Sponsors: United Arts Council of Greensboro 17 Days Greensboro In Kind Donations: DitraCreative.com Eastern Music Festival Fast Signs of High Point Greensboro Symphony Orchestra The Music Center – City Arts Quaintance-Weaver Restaurants & Hotel University of North Carolina at Greensboro Financial Sponsors Allstate – John Davis American String Teachers Association The Cemala Foundation Classical Conversations Costco Davis Xposhield, Inc First Presbyterian Church Guilford County PTA’s and Orchestra Boosters Moore Music Company Mount Zion Baptist Church Mu Phi Epsilon Providence Baptist Church Quaintance-Weaver Target Triad Search Marketing Wells Fargo Individual Supporters: Cindy Alspaw Linda Cykert Designs by His Hands Hair Salon Tom Flakoll Mrs. Nancy Horton Mr. and Mrs. Robert Koenig Donald H. Lewis Peeler Violin Students Drewry & Marie Penn Jesse L. Suggs, Jr. The Media Sponsors via UAC: Clear Channel News & Record Acknowledgments A special thank you is extended to Marta Richardson, string teacher at Peeler Open Elementary. Marta Richardson saw that her students had a need and searched for a way to fill that need. She contacted the Sphinx orchestra and collaborated with area organizations, area string teachers, UNCG, the United Arts Council and the community, to bring the orchestra to Greensboro. Because of her efforts over 1,000 students have shared in this experience. We should all look to Marta Richardson as a role model for selfless service and a commitment to education and the arts. Thank you, Marta! I would also like to thank all of the student organizations and individual students who volunteered their services to make this event possible. These student organizations include our American String Teachers Association student chapter, the National Association for Music Education Collegiate, and Phi Mu Alpha Sinfonia Fraternity. Sincerely, Rebecca B. MacLeod Sphinx Virtuosi Event Host Assistant Professor of Music Education at UNCG
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Title | 2011-10-07 Sphinx [recital program] |
Date | 2011 |
Creator | University of North Carolina at Greensboro. School of Music, Theatre and Dance |
Subject headings | University of North Carolina at Greensboro. School of Music, Theatre and Dance;University of North Carolina at Greensboro |
Place | Greensboro (N.C.) |
Description | Fall 2011 programs for recitals by students in the UNCG School of Music. |
Type | Text |
Original format | programs |
Original publisher | Greensboro N.C.: The University of North Carolina at Greensboro |
Contributing institution | Martha Blakeney Hodges Special Collections and University Archives, UNCG University Libraries |
Source collection | UA9.2 School of Music Performances -- Programs and Recordings, 1917-2007 |
Series/grouping | 1: Programs |
Finding aid link | https://libapps.uncg.edu/archon/index.php?p=collections/controlcard&id=608 |
Rights statement | http://rightsstatements.org/vocab/NoC-US/1.0/ |
Additional rights information | NO COPYRIGHT - UNITED STATES. This item has been determined to be free of copyright restrictions in the United States. The user is responsible for determining actual copyright status for any reuse of the material. |
Object ID | UA009.002.BD.2011FA.999 |
Digital publisher | The University of North Carolina at Greensboro, University Libraries, PO Box 26170, Greensboro NC 27402-6170, 336.334.5304 |
Full Text | Sphinx Virtuosi featuring: Catalyst Quartet Danielle Belen, violin Paul Laraia, viola Friday, October 7, 2011 7:30 pm Aycock Auditorium Program Fuga Criolla Juan Bautista Plaza (1898-1965) Divertimento for Strings (last movement) Béla Bartók (1881-1945) Passacaglia for Violin and Cello Handel/Halvorsen (1864 -1935) Danielle Belen and Paul Laraia String Quartet No. 2 Michael Nyman I. (b. 1944) String Quartet No. 2, Op. 26 Alberto Ginastera V. Furioso (1916-1983) Catalyst Quartet Intermission Last Round Osvaldo Golijov (b. 1960) Generations Sinfonietta No. 2 Coleridge-Taylor Perkinson III. Alla Burletta (1932-2004) Ricercare a 6, NWV 1079 Johann Sebastian Bach (1685-1750) Death and the Maiden (last movement) Franz Schubert (1797-1828) arr. Gustav Mahler Program Notes Fuga Criolla, Juan Bautista Plaza Juan Bautista Plaza Alfonso was a classical composer, initially educated as a medical doctor. He eventually dedicated himself to music fully, and in the 1920’s, earned a degree in Rome as the composer of sacred music. Upon his return to Venezuela, he taught music history at the Superior Music School in Caracas. Fuga Criolla is one of his most important and most known compositions for strings. The work, written in 1931, was originally scored for a string quartet, and later arranged by the composer himself for string orchestra (the latter version is heard more often today). Plaza demonstrates his mastery and love of counterpoint, with the fugue itself as a form echoing a tradition immortalized by Bach. Yet, there are very clear folk overtones, with Plaza’s reference to Joropo (a national dance form), which adds a great deal of charisma to this memorable piece. The original title, later changed by the composer, read “Fugue on Venezuelan Folk Melodies”. Divertimento for Strings (last mvt), Béla Bartók A great pianist, Bartok is regarded today as one of Hungary’s most important composers. Throughout his career, Bartok has studied and incorporated folk tradition of his native Hungary and neighboring countries into his music. The Divertimento for Strings is a three-movement work composed in 1939. The work was commissioned by Paul Sacher, a Swiss conductor, patron, impresario, and the founder of the Basel Chamber Orchestra. The Finale (third movement), heard today, is a fast, lively movement rondo form. The movement is fiery in character, with dance-like elements. It is also less harmonically complex, or dissonant than the previous movements. The contrast of solo parts and full orchestra creates a dynamic feel to the movement, which also features a full fugue. One additional feature of note is a dramatic, declamatory cadenza for violin. The ending resembles his timeless string quartets: fast passages culminate in a furious, effective ending. Passacaglia for Violin and Cello, Handel/Halvorsen Johan Halvorsen was an important figure in Norwegian musical life. A composer, conductor and violinist, he was educated in Oslo, Stockholm, St. Petersburg and beyond. Halvorsen was a composer of the Romantic period, nationalist movement. As a violinist, he performed in the legendary Gewandhaus Orchestra, as well as serving as concertmaster for Scotland and Aberdeen Orchestras. As conductor, he directed 30 operas and incidentals music for nearly 30 plays. As a composer he left a legacy of dozens of orchestral works, volumes of incidental music, and operetta and significant amount of chamber music, among which, is an arrangement for violin and viola (also played on cello) of Handel’s Passacaglia. A Passacaglia is a popular Baroque dance form featuring a series of repetitive figures in a single phrase. Although the passacaglia is often in triple meter, this one is written in two (and four). Halvorsen’s arrangement is luscious, virtuosic, dazzling, and rather memorable. It skillfully features both instruments as solo lines, showcasing the best aspects of each. A masterful way to immortalize Handel’s beautiful melody! String Quartet No. 2, I., Michael Nyman An English minimalist composer, pianist, musicologist and librettist is known for a variety of music, including his numerous film scores. His has written a number of operas, including The Man Who Mistook his Wife for a Hat, Facing Goya, and others. He also wrote a number of concertos, and a variety of chamber works, highlighting four strings quartets. Composed in 1988, this work was commissioned by famed contemporary dancer, Shobana Jeyasingh, as a solo dance work: Miniatures. It was first performed by her with the Balanescu Quartet on 15th September 1988 at the Palace Theatre, London. Nyman writes: “I instantly decided that the string quartet was the ideal medium: partly because it is quintessentially European to be rooted in Indian rhythms (it should in no way sound Indian); partly because the different rhythmic functions ascribed to each of the instruments in the Indian ensemble which traditionally accompanies Bharata Natyam were most successfully transferred to stringed instruments…”. The movement performed here carries rhythmic integrity, which sustains consistent energy, holding the listener captive. In particular, Nyman’s work resonates well with Catalyst Quartet’ own exploration of the contemporary aesthetic, which incorporates minimalism, among other schools of thought. String Quartet No. 2, Op. 26, V. Furioso, Alberto Ginastera Alberto Ginastera is a prominent figure on scene of Latin American composers. Born in Argentina, he thought of his own music in three different stages, or periods: "Objective Nationalism" (1934–1948), "Subjective Nationalism" (1948–1958), and "Neo- Expressionism" (1958–1983). He composer in a classical tradition, but throughout the periods, he explored a variety of ways in which he incorporated the influences of traditional Argentine music into his original compositions. One of his most notable students was Astor Piazzolla, a well-known composer who immortalized the tango in and beyond the classical tradition. He authored three operas, two ballets, over a dozen orchestral works, and made a number of great contributions to the chamber repertoire. String quartet No. 2, opus 26, was commissioned by the Elizabeth Sprague Coolidge Foundation and premiered by the Juilliard Quartet at the 1958 Inter- American Music Festival in Washington, D.C. It was written toward he end of his second period, or stage, where he explored with the twelve-tone system. He composed this work, mirroring Bartok’s string quartets, in five movements, in “arch form” (he greatly admired Bartok’s quartets). Uniquely, each movement is assigned not only a tempo, but also, a mood indication. The final movement, Furioso, is full of fire, drama and endless energy. Last Round for Two String Quartets and Doublebass, Osvaldo Golijov Osvaldo Golijov grew up listening to the music of Astor Piazzolla, which moved him deeply. As a young person, Golijov studies piano and composition. He has studies in Israel as well as US, under such greats as George Crumb, Oliver Knussen and Lucas Foss. This incredible masterpiece is inspired by the great Astor Piazzolla, as well as the St. Lawrence String Quartet, a group that is favored by the composer. Tragically, Piazzolla’s terminal illness was the original event, which precipitated the birth of the slow movement of the work. With the encouragement from the St. Lawrence Quartet, Golijov finished the work in 1996, scoring it specifically for its current instrumental configuration, and preceding the slow movement with a fiery, fast movement. Following is an excerpt from the liner notes of the magnificent recording by St. Lawrence Quartet, from Golijov himself: “The title is borrowed from a short story on boxing by Julio Cortázar; the idea was to give Piazzolla's spirit an imaginary challenge to fight one more time (he used to get into fistfights throughout his life). The piece is conceived as an idealized bandoneon. The first movement represents a violent compression of the instrument and the second a final, seemingly endless opening sigh (it is actually a fantasy over the refrain of the song "My Beloved Buenos Aires" composed by the legendary Carlos Gardel in the 1930s). But Last Round is also a sublimated tango dance. Two quartets confront each other separated by the focal bass, with violins and violas standing up as in the traditional tango orchestras…” Generations Sinfonietta No. 2, III. Alla Burletta, Coleridge-Taylor Perkinson Coleridge-Taylor Perkinson shares the following information directly in the score for this piece: The inspiration for this composition, though non-programmatic, is somewhat autobiographical in that it represents my attempts at what were and are my relationships to members of my family - past and present. While each of the movements is without a strict “formal” mode, an informal analysis of their structures is as follows: I. Misterioso and Allegro (to my daughter) is based on two motifs: the B-A-C-H idea (in German these letters represent the pitches B-flat, A-natural, C-natural, and B-natural), and the American folk tune “Mockingbird,” also known as “Hush Li'l Baby, Don't Say a Word.” II. Alla sarabande (sarabande, a 17 th and 18 th century dance in slow triple meter) is dedicated to the matriarchs of my immediate family (of which there were for me, three), each of whom contributed a unique form of guidance for life's journey. III. Alla Burletta (to my grandson). A burletta is an Italian term for a diminutive burlesca or burlesque-type work - a composition in a playful and jesting mood. Thematically, this movement is based on the pop tune “Li'l Brown Jug.” IV. Allegro vivace. This movement is a loosely constructed third rondo, which thematically begins with a fughetta (original melody), has a second theme (African in origin), and a third theme (“Mockingbird” paraphrased). Once again, the B-A-C-H idea from the first movement is the musical thread that ties these elements together. This movement is dedicated to the patriarchs of my family, known and unknown, past, present and future, for generations. How fortunate for us to have been left with such a descriptive intent behind this genius’s work! The Sinfonietta is full of substance, contrast, beauty. In the Alla Burletta movement, listen for humor in the syncopated pizzicatos from each string section. The work with its clear jazz influences will lift your spirits, and the surprise ending is sure to leave any listener with a sense of effervescent delight! Ricercare a 6, BWV 1079, J.S. Bach This fabulous piece is a key component of the Music Offering collection by Bach, who was, arguably, the most important Baroque composer in history. When visiting his son, C.P.E. Bach, at the court of Frederick he II, the elder Bach was presented with a theme written by the king. As a result, he accepted the challenge to improvise a 3- voice fugue on the spot. Later, Bach used the theme as the foundation for a grouping of fugues and canons, which came together on one of the greatest baroque collections know throughout music history, Musikalisches Opfer (Musical Offering), dedicated to the king. Besides the three-part fugue that he improvised on the spot, Bach also created a version for six voices, dubbing both selections Ricercari. (Ricercare translates from Italian as “to seek out”). Curiously, he did not specify the exact instrumentation for the voices. A variety of composers, like Anton Webern, have arranged this incredible work for different instruments. In 1926, Gustav Lenzewski (1857-1928), arranged Ricercari a 6 for strings. The theme itself is sonorous, stoic, dramatic, or imposing, depending upon each voice and their respective entry throughout the work. It is very chromatic, and the incredible harmonies create an unparalleled effect when all voices interact with one another, after the initial entry. Despite the general C Minor layout, he piece ends in a blissful C Major, not uncharacteristic for Bach. Death and the Maiden, Franz Schubert (arr. Gustav Mahler) Although he died at a very early age of 31, this Austrian composer of the Romantic era is admired as one of the leading and most significant composers. He was also incredibly prolific, having written nine symphonies, operas, solo piano music, volumes of chamber music, and 600 Lieders (songs). The musical world began to study and appreciate Schubert’ music much more actively after his death. Composers like Schumann, Brahms and Mendelssohn helped bring many of his works to light for the public. Another important Austrian composer, Gustav Mahler, was known to make alterations to the scores he would conduct. Upon studying the score of Schubert’s timeless masterpiece, a string quartet “Death and the Maiden”, Mahler obtained a score and began to make specific notations on how the quartet could be arranged for string orchestra. In fact, he left a score, which was a treasure with specific indications, while not complete arrangement. After the composer’s death, Mahler’s daughter shared the incomplete arrangement with the Mahler scholars; David Matthews and Donald Mitchell. The pair then followed Mahler’s notes and instructions, essentially, finishing the process and creating an actual score. This version of Schubert’s Death and the Maiden has graced the stages of concert halls worldwide since 1984. Schubert wrote the quartet in 1826. The title Death and the Maiden is suggestive, as theme of death is a central one. The text is authored by Matthias Claudius, which tells an old tale. Death is imposing itself upon a bride, and should the latter not accept, Death threatens to take her groom away on the day of the wedding. Terrified, the Maiden begs Death to leave, while Death persists and attempts to comfort the Maiden. Each movement is powerful, descriptive, telling and unmistakably memorable. The final Rondo-Finale is a perpetual dance, full of terror, obsessive rhythm, echoes from the earlier movement, all rushing frantically to a dramatic end. The Artists The Sphinx Virtuosi, formerly known as the Sphinx Chamber Orchestra, is a conductorless ensemble of soloists, comprising top alumni of the national Sphinx Competition for young Black and Latino string players. This unique group earned rave reviews in December of 2004, during its highly acclaimed debut at Carnegie Hall. In The New York Times, Allan Kozinn described the performance as “first-rate in every way” and the ensemble to have “produced a more beautiful, precise and carefully shaped sound than some fully professional orchestras that come through Carnegie Hall in the course of the year.” The ensemble has returned to Carnegie Hall annually since 2006 to present outstanding programs to sell-out audiences of over 2,800, and earning further praise from The New York Times for each performance. Sphinx Virtuosi also earned critical acclaim during its historic inaugural national tour, which included performances at Krannert Center, Harris Theater, Penn State and several other key venues. During its second annual tour in 2009, the ensemble was praised by critics for their “technical prowess,” and for playing with “utmost sensitivity and intelligence to the musical detail, large and small.” That year, Sphinx Virtuosi performed in 13 venues across the country, increasing their appearances by more than 50 percent in just one year. Inspired by Sphinx’s overarching mission, the Sphinx Virtuosi works to advance diversity in classical music while engaging young and new audiences through performances of varied repertoire. They perform masterpieces by Bach, Tchaikovsky, Vivaldi and Mozart, alongside seldom presented works by composers of color, including Coleridge-Taylor Perkinson, George Walker, Michael Abels and Astor Piazzolla. Members of the Sphinx Virtuosi have completed and continue to pursue their studies at the nation’s top music schools, including Juilliard, Curtis, Eastman, Peabody, Harvard, and the University of Michigan. Additionally, several members hold positions in professional orchestras, including the Oregon, Grand Rapids and San Antonio symphonies. Members of the roster have been named laureates of other prestigious international competitions, including Queen Elisabeth Competition and the Yehudi Menuhin International Violin Competition. A number of Sphinx Virtuosi members have appeared as soloists with major orchestras, including the New York Philharmonic, Cleveland and Philadelphia Orchestras, and Detroit, Atlanta, Seattle, and Pittsburgh Symphonies among others. Sphinx Virtuosi is looking forward to presenting vibrant programming in venues across the country during its fourth annual national tour. The Sphinx Virtuosi, a Sphinx Ensemble, is represented in North America by California Artists Management, http://www.calartists.com/. The Catalyst Quartet Hailed by The New York Times in their Carnegie Hall debut as “invariably energetic and finely burnished…playing with earthy vigor,” the Catalyst Quartet comprises top Laureates and alumni of the internationally acclaimed Sphinx Competition for young Black and Latino string players. The ensemble’s mission is to advance diversity in classical music and inspire new and young audiences with dynamic performances of cutting-edge repertoire by a wide range of composers. Founded by the Sphinx Organization, the Catalyst Quartet combines a serious commitment to diversity and education with a passion for contemporary music. In the summer of 2011, the Catalyst Quartet studied with the renowned Juilliard String Quartet. The quartet has held residencies both domestically and abroad. In addition to serving as principal faculty at the Sphinx Performance Academy at Oberlin College and Roosevelt University in Chicago, the quartet has recently held residencies in London in partnership with In Harmony England and South Africa in partnership with University of Witwatersrand and University of South Africa (UNISA). The Catalyst Quartet members are also visiting teaching artists at the Sphinx Preparatory Music Institute, hosted by the Detroit Symphony Orchestra. The Catalyst Quartet has been featured in The Strad and Strings magazines, as well as on Detroit’s WRCJ, and maintains an active performing schedule. In fall 2011, the quartet will lead the Sphinx Virtuosi on a national tour, which will include a return to Carnegie Hall on October 12. Inspired by music’s ability to transform, the Catalyst Quartet seeks to change the way that classical music is perceived through diverse programming for a wide range of audiences. Catalyst Quartet, a Sphinx Ensemble, is represented in North America by California Artists Management, http://www.calartists.com/. The Catalyst Quartet proudly endorses Pirastro strings. www.pirastro.com Catalyst Quartet Members: Bryan Hernandez-Luch, violin Karla Donehew-Perez, violin Christopher Jenkins, viola Karlos Rodriguez, cello Karlos Rodriguez plays on a cello by Gregg T. Alf on generous loan from the maker. www.alfstudios.com. Karla Donehew Perez performs on a fine violin by Charles and Samuel Thompson, London 1774, on generous loan from Patricia Press Nissen in memory of Alvera and Dudley Warner-Press, and a fine violin bow by Victor Fetique on generous loan, through the Rachel Elizabeth Barton Foundation. Danielle Belen, violin Winner of the 2008 Sphinx Competition and Naxos recording artist, Danielle Belen has soloed with symphonies across the U.S. including the Pittsburgh, Atlanta, Nashville and San Francisco Symphonies, the Boston Pops, and the Florida and Cleveland Orchestras. Now on faculty at the Colburn School of Music with a growing violin studio of her own, she works under renowned master teacher Robert Lipsett. Her special love is teaching young aspiring talent and developing community events in conjunction with her professional performances. Ms. Belen is the founder and Artistic Director of Center Stage Strings, a summer camp and performance festival for gifted young musicians in Three Rivers, California. Ms. Belen plays on a 1709 Allessandro Gagliano violin from the Mandell Collection of Southern California. Please visit www.BelenViolin.com for more information. Paul Laraia, viola Regarded for his extraordinary grasp of phrasing, character, and color, violist Paul Laraia has performed concerts at Carnegie Hall, Jordan Hall, Concert Hall Frits Philips, the Strathmore Arts Center, the Max M. Fisher Music Center, the Kimmel Center’s Verizon Hall, and has been featured multiple times performing on National Public Radio and Detroit Public Television. Chamber music has always been extremely close to Paul's heart. He has performed at the Sarasota Music Festival, National Orchestral Institute, and Yellow Barn Festival, where he collaborated with acclaimed artists such as Donald Weilerstein, Roger Tapping, Anthony Marwood, Michael Kannen, Maria Lambros, Natasha Brofsky, and Mark Hill. He will be recording his debut CD on White Pine label Paul plays on a 17-1/4" viola by Douglas Cox in the style of Gasparo da Salo, provided by Mr. Cox through the Sphinx Instrument fund program, www.coxviolins.com ABOUT SPHINX The Sphinx Organization is the Detroit-based non-profit arts and youth development organization dedicated to building diversity in classical music. Founded in 1996, Sphinx envisions a world in which classical music reflects cultural diversity and plays a role in the everyday lives of youths. The organization’s mission is: v To increase the participation of Blacks and Latinos • in music schools • as professional musicians • as classical music audiences v To administer youth development initiatives in underserved communities through music education v To promote the creation, performance, and preservation of works by Black and Latino composers The organization’s founding and mission were informed by the life experiences of Aaron Dworkin, the organization’s founder and president. As a young, Black violinist, he was acutely aware of the lack of diversity both on stage and in the audience in concert halls. He founded Sphinx while a graduate student at the University of Michigan. Today, according to the League of American Orchestras, less than 5 percent of the musicians in our nation’s professional orchestras are Black or Latino. In 1998, the organization hosted the first Sphinx Competition for young Black and Latino string players. The competition quickly gained the attention of many notable musicians, including the late Isaac Stern, who attended the 1998 Sphinx Competition and invited several Sphinx Laureates to his studio for private coachings. Today, Sphinx programs reach over 85,000 students, as well as live and broadcast audiences of over two million annually. Since the first Sphinx Competition, the organization has grown to include five programming areas: v Artist Development highlights the annual Sphinx Competition for young Black and Latino string players, a professional development program, and several scholarship initiatives. v Sphinx Performance Academy offers intensive summer training to young Black and Latino musicians who lack access to quality music education. The program operates at Roosevelt University in Chicago and Oberlin College. v Sphinx Legacy Project creates, promotes, disseminates, and preserves works by Black and Latino composers through the Sphinx Commissioning Consortium, the Sphinx Journeys radio program, the Sphinx Library, and Classical Connections, an in-school curriculum initiative. v Sphinx Presents! provides professional performance opportunities for Sphinx artists in venues nationwide including an annual national concert tour by the Sphinx Chamber Orchestra and concerts at Carnegie Hall. v Sphinx Preparatory Music Institute provides Detroit-area youths with yearlong classes in performance, music theory, ear training, and music history with an emphasis on Black and Latino composers. Overture Division of Sphinx Prep offers free violins and lessons to students in underserved communities of Detroit and Flint. As the organization has grown, so has its acclaim. Sphinx has been featured in The New York Times, Newsweek, People magazine, The Detroit Free Press, and on National Public Radio and NBC’s Today show. In addition, the annual Sphinx Competition is broadcast by Detroit Public Television, and syndicated to PBS stations nationwide. Aaron Dworkin’s work as Founder and President of the Sphinx Organization has also been recognized. He was named Michiganian of the Year by The Detroit News in 2003, one of Detroit’s “40 Under 40” by Crain’s Detroit Business, and was given the Detroit Symphony’s Lifetime Achievement Award. In 2005, the John D. and Catherine T. MacArthur Foundation honored him with a prestigious MacArthur Fellowship. In 2010, he was nominated by President Obama to serve on the National Council on the Arts. For more information please visit our website at www.SphinxMusic.org or call 313.877.9100 Sphinx Virtuosi Joel Smirnoff, Artistic Advisor (President of Cleveland Institute of Music, former member of Juilliard Quartet) Violin I Bryan Hernandez-Luch, Concertmaster Maureen Conlon-Gutierrez Kyle Lombard Ade Williams Isabel Escalante Violin II Karla Donehew-Perez, Principal Amyr Joyner Sheena Gutierrez Scott Jackson Viola Christopher Jenkins, Principal Paul Laraia III Kaila Potts-Smith Jason Amos Cello Karlos Rodriguez, Principal Jared Snyder Adrienne Taylor Bass Eric Thompson, Principal Jonathan Colbert The Sphinx Virtuosi would like to thank the following generous sponsors: Fiscal Sponsors: United Arts Council of Greensboro 17 Days Greensboro In Kind Donations: DitraCreative.com Eastern Music Festival Fast Signs of High Point Greensboro Symphony Orchestra The Music Center – City Arts Quaintance-Weaver Restaurants & Hotel University of North Carolina at Greensboro Financial Sponsors Allstate – John Davis American String Teachers Association The Cemala Foundation Classical Conversations Costco Davis Xposhield, Inc First Presbyterian Church Guilford County PTA’s and Orchestra Boosters Moore Music Company Mount Zion Baptist Church Mu Phi Epsilon Providence Baptist Church Quaintance-Weaver Target Triad Search Marketing Wells Fargo Individual Supporters: Cindy Alspaw Linda Cykert Designs by His Hands Hair Salon Tom Flakoll Mrs. Nancy Horton Mr. and Mrs. Robert Koenig Donald H. Lewis Peeler Violin Students Drewry & Marie Penn Jesse L. Suggs, Jr. The Media Sponsors via UAC: Clear Channel News & Record Acknowledgments A special thank you is extended to Marta Richardson, string teacher at Peeler Open Elementary. Marta Richardson saw that her students had a need and searched for a way to fill that need. She contacted the Sphinx orchestra and collaborated with area organizations, area string teachers, UNCG, the United Arts Council and the community, to bring the orchestra to Greensboro. Because of her efforts over 1,000 students have shared in this experience. We should all look to Marta Richardson as a role model for selfless service and a commitment to education and the arts. Thank you, Marta! I would also like to thank all of the student organizations and individual students who volunteered their services to make this event possible. These student organizations include our American String Teachers Association student chapter, the National Association for Music Education Collegiate, and Phi Mu Alpha Sinfonia Fraternity. Sincerely, Rebecca B. MacLeod Sphinx Virtuosi Event Host Assistant Professor of Music Education at UNCG |
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