Download 193 Orchestra 3-14 - Live at Interlochen

Interlochen, Michigan
193rd Program of the 52nd Year
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INTERLOCHEN ARTS ACADEMY ORCHESTRA
Carolyn Watson, conductor
with
CONCERTO COMPETITION WINNER
Sage DeAgro-Ruopp, soprano, Traverse City, Mich.
Friday, March 14, 2014
7:30pm, Corson Auditorium
Pre-concert talk 6:30pm
Academic Festival Overture, Op. 80 .......................................................... Johannes Brahms
(1833-1897)
O qui coeli terraeque serenitas, RV 631 .......................................................... Antonio Vivaldi
Aria: O qui coeli terraeque serenitas
(1678-1741)
Recitativo: Fac ut sordescat tellus
Aria: Rosa quae moritur
Alleluia
Sage DeAgro-Ruopp, soprano, Traverse City, Mich.
Enigma Variations, Op. 36 ................................................................................. Edward Elgar
Theme: Andante
(1857-1934)
C.A.E. (The composer's wife)
H.D.S-P. (Hew David Steuart-Powell)
R.B.T. (Richard Baxter Townshend)
W.M.B. (William Meath Baker)
R.P.A. (Richard Penrose Arnold)
Ysobel (Isabel Fitton)
Troyte (Troyte Griffith)
W.N. (Winifred Norbury)
Nimrod (A.J. Jaeger)
Intermezzo: Dorabella (Dora Penny)
G.R.S. (George Robertson Sinclair)
B.G.N. (Basil G. Nevinson)
Romanza (Lady Mary Lygon)
E.D.U. (The composer)
TEXT AND TRANSLATIONS
O qui coeli terraeque serenitas
O what is the calm of heaven and earth
Aria da capo - Allegretto
Aria da capo - Allegretto
O qui coeli terraeque serenitas
et fons lucis et arbiter es,
O what is the calm of heaven and earth
the source of light and judge.
Unde regis aeterna tua sidera
mitis considera
nostra vota, clamores et spes.
Whence come the eternal stars
kindly consider
Our prayers, cries and hopes.
Recitativo
Recitativo
Fac ut sordescat tellus
dum respicimus coelum;
fac ut bona superna
constanter diligamus
et sperantes aeterna
quidquid caducum
est odio habeamus.
Make the earth seem unclean
when we look to heaven;
make us cherish
constantly the heavenly riches
and hoping for the eternal,
that which is transitory,
we may regard with hatred.
Aria da capo - Largo
Aria da capo - Largo
Rosa quae moritur,
unda quae labitur,
mundi delicias
docent fugaces.
The rose which dies,
the water which recedes,
the world's delights
are all transient.
Vix fronte amabili
mulcent cum labili
pede praetervolant
larvae fallaces.
Such deceitful ghosts
scarcely charm with their
pleasant appearance
Before flying past, fleet or foot.
Alleluia - Allegro
Alleluia - Allegro
THE SOLOIST
The student soloist performing tonight is one of three students selected from a total of 49
entries in the annual competition at Interlochen Arts Academy. Preliminary concerto
auditions were judged by a team of Interlochen Arts Academy faculty in categories of voice,
piano, strings, woodwinds, brass and percussion. Thirteen students advanced to the final
concerto auditions, held on Saturday, November 2, 2013. Judges for the final auditions
were:
Marie Speziale ~ trumpet ~ The Shepherd School of Music, Rice University
Natalya Antonova ~ piano ~ Eastman School of Music, University of Rochester
Andrew Raciti ~ double bass ~ Bienen School of Music, Northwestern University
SAGE DEAGRO-RUOPP is a senior at Interlochen Arts Academy where she is a student of
Scott Skiba and a member of the choir, chamber singers, and opera theater. She has
dreamt of being an opera singer since she was ten years of age after seeing her first opera,
Humperdinck's, Hansel and Gretel. Sage has been involved in over 40 musicals between
the age of nine and thirteen. She has attended numerous summer programs such as
Interlochen Center for the Arts, Mpluse, Walnut Hill and most recently Oberlin in Italy where
she worked with teacher Duane Mahy and coaches such as Danielle Orlando and Enza
Ferrari among others. As a 15 year old Sage sang on NPR’s “A Prairie Home Companion”
with Garrison Keillor. She has been cast in scenes as Susanna in Mozart’s Le nozze di
Figaro, Carolina in Cimarosa’s Il matrimonio segreto, Manon in Massenet’s Manon, and as
Giulietta in Bellini’s I Capuleti e i Montecchi. Sage is a 2014 YoungArts winner. After
Interlochen she hopes to continue her education at the Oberlin Conservatory of Music.
February 8 Orchestra Concert ~
Haydn’s Cello Concerto in D Major, Hob.VII:2, mvt. I performed by
IAA Concerto Competition winner Tianlu Jerry Xu (cello)
May 22 Orchestra Concert ~
Ralph Vaughan Williams’s Concerto for Bass Tuba and Orchestra, mvt I performed by
IAA Concerto Competition winner Aden Beery (tuba).
IAA Concerto Competition Honorable Mentions
Jeremy Hassell (piano) and Matthew Figel (piano)
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PROGRAM NOTES
The Academic Festival Overture is one of two concert overtures composed by Johannes
Brahms (1833-1897), its counterpart being the turbulent and darker Tragic Overture.
Written in 1880, the work was something of a dedication to the University of Breslau who
had bestowed an honorary doctorate on the composer the previous year. Brahms,
somewhat ill at ease with the recognition associated with his stature, had originally penned
a note of thanks, preferring to keep the matter a relatively private affair. He was, however,
eventually persuaded that a more obvious and public gesture would be appropriate hence
the origin of the overture. The composer himself conducted the work at a special
convocation ceremony at the university in 1881, much to the delight of all concerned.
Quite the practical joker and in a move less academic than the title suggests, Brahms
incorporated tunes from a large number of well-known student drinking songs. As such, the
work is at times light-hearted in manner and comical in character. The final maestoso tutti
section is a masterful counterpoint setting of Gaudeamus Igitur, ('So let us rejoice') a song
commonly associated with university graduation ceremonies in Europe, fulfilling the
'academic' requirement on both accounts. The work calls for a relatively large orchestra by
Brahms' standards – piccolo, two flutes, two oboes, two clarinets, two bassoons,
contrabassoon, four horns, three trumpets, three trombones, one tuba, timpani, bass drum,
cymbals, triangle, and strings – and is around ten minutes in length.
Baroque composer Antonio Vivaldi (1678-1741) was a virtuoso violinist and also a priest.
He is today arguably best remembered for his instrumental works, the majority of which
were composed for the ensemble of young musicians at the orphanage in Venice where he
was employed for some thirty years. Along with numerous concerti, Vivaldi also composed
cantatas and oratorios along with full-scale operas. The work on this evening's program, O
qui caeli terraeque serenitas, is a motet featuring soprano soloist and string orchestra. A
four movement work, this motet includes two characteristic da capo arias, and a lamenting
recitative before concluding with an ebullient alleluia.
Edward Elgar (1857-1934) was widely hailed as the greatest English composer since the
Baroque and Henry Purcell (1659-1695). Along with the Pomp and Circumstance Marches,
the Enigma Variations are among Elgar's most recognized orchestral works. Variations on
an Original Theme for Orchestra ("Enigma") was composed during 1898-1899.
A set of fourteen variations dedicated to Elgar's friends whom he depicts within the work
has enjoyed enduring popularity thanks not only to its musical worth but no doubt the
enigma itself. Elgar admitted that throughout the work there was a second theme which is
'never played'. While many have speculated on the interpretation of this statement, there
seems not to have been any definitive solution to the riddle so Elgar's enigma remains
precisely that.
A somber and brooding minor key melody, the original theme is just six bars long –
testament to Elgar's genius is the sheer scope and variety of permutations presented. The
original theme is reportedly one Elgar derived after his wife Alice encouraged him to repeat
something he had just played the piano. Wanting to entertain her, Elgar then continued
improvising on the melody and so the work had its genesis.
Perhaps most appropriately then, the first variation, C.A.E., stands for Caroline Alice Elgar
and is dedicated to the composer's wife. The second short movement H.D.S-P. depicts
Hew David Steuart-Powell, an enthusiastic yet rather amateur pianist. The opening
disjointed violin fragments apparently portray his fumbling attempts to play the instrument.
Richard Baxter Arnold (R.B.T.) was an actor whose hilarious portrayal of an old man in
theatrical productions is caricatured in this movement. William Meath Baker (W.M.B.) was
well known for his forthright character and indeed his temper – this brief but tempestuous
movement ends with a final chord that apparently represents him angrily storming out of
the room!
R.P.A. is Richard Percival Arnold who reportedly suffered from bipolar disorder. This
movement therefore shifts suddenly and dramatically between a pervading dark and
melancholy character and a witty, whimsical mood. Ysobel Fitton (Ysobel) was an amateur
viola player and pupil of Elgar's. As such, this movement begins with the violas cleverly
imitating Ysobel practicing a string crossing exercise.
Troyte is A. Troyte Griffith, an architect and enthusiastic amateur pianist. This movement
allegedly chronicles an afternoon he and Elgar were out walking together when beset on by
a sudden thunder storm – the brilliant scale passages in the strings signify the two of them
running indoors for shelter, with the thunder of the timpani never too far away. W.N. is
Winifred Norberry whose ivy-covered Victorian house is the inspiration for this movement.
The best-known variation is Nimrod, dedicated to Elgar's publisher A.J. Jaeger. Jaeger in
German means 'hunter', hence Elgar's choice for the title of this movement – Nimrod was
the great biblical hunter. The opening theme bears a resemblance to the slow movement of
Beethoven's Pathetique Sonata and indeed this movement is in many ways a homage to
the slow movements of Beethoven.
Dorabella, a reference to the character of the same name in Mozart's Cosi fan tutti, was in
fact Dora Penny, a friend of Elgar's whose speech impediment is depicted by the slightly
uneven repeated sixteenths in the oboes and clarinets. G.R.S. is George Robertson
Sinclair, organist of Hereford Cathedral, however it is actually his bulldog Dan who is the
real dedicatee of this movement. This movement chronicles Dan's misadventure as he falls
down an embankment into the river (opening string runs), dog paddles his way through the
water (cellos and bassoons), before coming up barking (lower strings) and shaking himself
dry, the tinkle of his collar represented by the triangle.
Basil Nevinson (B.G.N.) was an enthusiastic amateur cellist of some distinction, as
evidenced by the opening solo and leading melodic line throughout this movement. The
penultimate variation is titled somewhat ambiguously (***) and bears the subtitle Romanza.
Despite the absence of initials, it seems apparent the dedicatee of this movement is Lady
Mary Lygon who voyaged to Australia. The hum of the ship engines are portrayed by the
timpani who accompany a solo clarinet in what is actually a quotation from Mendelssohn's
Calm Sea and Prosperous Voyage Overture.
The finale is designated E.D.U. who was in fact the composer himself and these three
initials represent his wife's nickname for him. This movement recalls the movements C.A.E
and Nimrod in a tribute to two of the most important people in the composer's life, before a
triumphant ending in the tonic major.
© Carolyn Watson 2013
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CAROLYN WATSON is the conductor of the Interlochen Arts Academy Orchestra.
Previously she was conductor-in-residence at the Conservatorium High School in Sydney,
Australia. Dr. Watson is the current recipient of the Brian Stacey Award for emerging
Australian conductors and a 2013-14 Dome Centenary Fellowship from the State Library of
Victoria. She was a major prizewinner at the 2012 Emmerich Kálmán International Operetta
Conducting Competition in Hungary. During 2010 she debuted with the North Czech
Philharmonic Orchestra and was one of four conductors selected for Interaktion with
musicians of the Berlin Philharmonic Orchestra. In 2009, she assisted on a production of
Carmen with the Israeli National Opera. A Churchill Fellow, Dr. Watson is the recipient of
the Sir Charles Mackerras Conducting Prize awarded via the Australian Music Foundation
in London, Opera Foundation Australia’s Bayreuth Opera Award and New Berlin Opera
Award and the Nelly Apt Conducting Scholarship. In 2008 she conducted the World Youth
Day Orchestra on the occasion of the Pope's arrival in Australia. She studied with David
Zinman as a Fellow of the American Academy of Conducting at the Aspen Music Festival
and School. Dr. Watson holds a PhD in performance (conducting) from the University of
Sydney.
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INTERLOCHEN ARTS ACADEMY ORCHESTRA
Lyndsay Hunter, manager
VIOLIN I
David Alexi Whitsel, Colo.
Mwakudua Wangure, Fla.*
Seo Yon Park, South Korea
Zoe Rohrich, Colo.
Sahada Buckley, Ala.*
Pia Bucci, Mass.*
Ruilin Chen, China*
Mackenzie Williams, Ill.*
Celina Farmer, Alaska
Dolores Checa Jose, Mexico
Yeonsong Kim, South Korea
Yijun Huang, China*
Carolyn Watson (faculty)*
VIOLIN II
Alexander van der Veen, Calif.*
Kendra Sobania, Minn.*
Maria Formiller, S.D.*
Tsz Shan Peony Lee, Calif.*
Matthew Wilkinson, Mich.
Montserrat Picado Campos,
Costa Rica*
Clare Wescott, Mich.*
Santiago Mendez Vigata Romero,
Mexico
Akili Burton, Ind.*
Alana Davis, Virgin Islands*
Ximena Calderón, Costa Rica
Stephanie Arado (faculty)*
VIOLA
Joseph Grof, Ohio*
Maya Johnson, Pa.*
Jeremy Laureta, N.Y.
Essien Duke, N.Y.
Gawain Usher, Vt.*
Katherine Jagla, Ind.
CELLO
Harry Wilde Greer, Calif.
Daniel Blumhard, Pa.*
Tianlu Jerry Xu, China
Daniel Agusto, N.Y.*
Sarah Nail, Ala.
Joshua Leak, Ill.*
Gwenfrewi Burger, Minn.
Hannah Rohrich, Colo.
DOUBLE BASS
Max Mulpagano, Ind.
Wenqing Camilla Fu, China*
Bradley Steven Trinkle, Miss.
Iain Coates, Wash.
FLUTE
Hannah Criswell, Texas
Indigo Fischer, Ark.
Charlotte Angier, N.J.
Brittany Bindon, Mich.
Alexandra Ong, Ohio
OBOE
Leonardo Cubillo, Costa Rica
Alejandro Briceno, N.C.
Robin Cook, Ore.
Ivy Carpenter, Mich.
CLARINET
Zachary West, Mass.
Sydney Lusby, Texas
Martin Kocev, Macedonia
Vladimir Gessen,
Russian Federation
BASSOON
Tatum Shellenberger, Fla.
Kelly Haines, Nev.
Emily Simpson, Ky.
Madelaine Stearn, Wash.
TRUMPET
Francis Chiodo, Mich.
Abigail Rowland, Hong Kong
Chad Erickson, Ill.
Kyle Braun, Ohio
HORN
Kaci Cummings, Texas
Nate Klause, Ariz.
Elisabeth Pesavento, Wash.
Antonio Brindise, Tenn.
TROMBONE
Danna Nelson, Minn.
Sam Silverman, Calif.
Aaron Albert, S.C.
TUBA
Cristina Dougherty, N.M.
James MacKenzie, Ohio
HARPSICHORD
Jacob Dassa, Calif.*
ORGAN
Michael Caraher, Calif.
PERCUSSION
Andrew Grossman, Fla.
Leo Taylor, Mich.
Sara Simonovska, Macedonia
Alexandre Johnson, Fla.
* Denotes performing on Vivaldi
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UPCOMING HIGHLIGHTS OF THE 2013-14 PERFORMING ARTS SERIES
Motionhouse Dance
Tuesday, April 1, 7:30 p.m., Corson Auditorium
Dubbed “a fascinating experience... an assault on the senses, amazing” (Manchester
Evening News), Motionhouse meshes live performance with film, intertwining the elements
so tightly that the experience transports you to places unimagined. Hold your breath—this
company dares to scale bounds and traverse art forms with “a huge dose of choreographic
flare, acrobatic flourish, humor, empathy and real life relevance” (Brighton Festival).
Composers in Context Festival
Wednesday thru Friday, April 23-25
The Composers in Context Festival illuminates the connection between older repertoire
and new works for choir, band and orchestra. Join us as the Academy ensembles present
a series of varied programs highlighting new music and its connection to earlier
composition. The Interlochen Arts Academy Band will perform on Wednesday, April 23; the
Interlochen Arts Academy Choir will perform on Thursday, April 24; and the Interlochen
Arts Academy Orchestra will perform on Friday, April 25. All performances will be held at
7:30 p.m. in Corson Auditorium.
Jennifer Koh: Bach and Beyond
Monday, May 5, 7:30 p.m., Dendrinos Chapel
Universally praised for her ability to fuse a fiery intensity with classical poise and elegance,
“fearless soloist” (The New York Times) Jennifer Koh will present a concert from her Bach
and Beyond series that you won’t want to miss. Her nuanced, beautifully evocative threepart project aims to strengthen the connection between Bach’s timeless Six Sonatas and
Partitas to our present world through a riveting and virtuosic journey, from historical solo
violin works to new pieces by contemporary composers.
“Into the Woods”
Interlochen Arts Academy Musical Theatre Co.
May 9 & 10, Corson Auditorium,
Friday, 7:30 p.m., Saturday, 2 p.m. & 7:30 p.m.
A multiple TONY® Award winner, Into the Woods takes the audience to a beguiling and
dark place inspired by Grimm’s fairy tales. Among the classic characters that wander the
woods searching for fulfillment of their wishes are Cinderella and her wicked step-sisters,
Little Red Riding Hood and the Wolf, Rapunzel and her Prince, and Jack of beanstalk
fame. As their fanciful tales intertwine, they are forced to confront what actually happens
after "happily ever after." Music and Lyrics by Stephen Sondheim; Book by James Lapine
For information and tickets, visit tickets.interlochen.org or call 800.681.5920.
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In consideration of the performing artists and other patrons, the use of flash photography is not permitted.
Federal copyright and licensing rules prohibit the use of video cameras and other recording equipment.
In order to provide a safe and healthy school, Interlochen maintains a smoke-free and alcohol-free campus.
Michigan law prohibits any weapons, including concealed weapons, on Interlochen property
because we are an educational campus. Thank you for your cooperation.
www.interlochen.org