Jamestown Concert Association
Presents - The 2014-2015 Season
Turn UP the Music
Our Next Concert – Friday, April 17th
Western New York Chamber Orchestra
Friday, April 17, 2015
8:00 p.m. St. Luke’s Episcopal Church
Glen Cortese, Artistic Director & Conductor and Dmitri Novgorodsky, pianist
F.J. Haydn -- Symphony No. 55 in E flat Major
W.A. Mozart – Piano Concerto in A Major, K. 414
F. Schubert – Symphony No. 5 in B flat Major, D. 485
Western New York has a wealth of arts and music and our Chamber Orchestra plays an integral part in that. This professional Ensemble-in-Residence at the SUNY Fredonia School of Music celebrates its 30th anniversary this year and continues to demonstrate the lasting power of classics. Internationally famed conductor and composer, Glen Cortese, leads the Chamber Orchestra for a tenth season while Ukrainian-born Dmitri Novgorodsky shares his piano playing gift. The Orchestra is also focused on encouraging music in our community through education. WNYCO is active with many school districts in the region, as well as offering unique professional level opportunities for student performers from the Fredonia School of Music.
Symphony #55 in Eb Major (Der Schulmeister)
The Symphony No. 55 in E-flat major is also known as “The School Master” symphony. It was composed by Joseph Haydn in 1774 while employed as court musician for the wealthy Esterházy family. It is scored for 2 oboes, bassoon, 2 horns and strings. It is comprised of four movements: Allegro di molto, Adagio ma semplicemente, Menuetto & trio, and a Presto Finale. The second movement is a theme with seven variations. Keeping with the semplicemente marking, the theme is quite simple and is in two halves. A recurring contrast amongst the variations is between those that are staccato (theme, 2 & 3) and those that are more legato (1, 4, 5). The variations overlap twice (theme with variation 1, variation 3 with variation 4) in that the first half for the two variations in sequence followed by the second half for each. Both times this is done to contrast a staccato variation with a legato one. For the most part, the movement is for muted strings only, with notable wind outbursts in the second variation as well as the use of full tutti in the seventh variation which serves to recapitulate the movement. The trio of the Menuetto is scored for solo cello and two solo violins. The finale is a mixture of variation and rondo form.
Piano Concerto No. 12 in A major, KV 414
With good reason this work is one of Mozart’s best-liked piano concertos. It contains a wealth of beautiful melodic ideas and expresses that inimitable Mozartian charm and wit that brings joy to every heart and even smiles to a depressed soul.
It is the first of the three concertos – K.413, K.414, and K.415 – composed together as a cycle in 1782. They are chamber concertos that can be performed either with a full orchestra or with strings, only leaving out the wind instruments. They can even be performed with a piano quintet.
In a letter from Vienna written to his father in Salzburg on December 28, 1782, Mozart himself gave a fitting description of these works: “These concertos are a happy medium between what is too easy and too difficult; they are very brilliant, pleasing to the ear, and natural without being dull. There are passages here and there from which the connoisseurs alone can derive satisfaction; but these passages are written in such a way that the less learned cannot fail to be pleased, although without knowing why.” (This is a major description that obviously could also fit later concertos, such as that in F major, K.459)
As with all his concertos, this one has its own individual characteristics. For example, it is the first of Mozart’s concertos in which the opening Tutti contains three different themes, all of them related to each other by the fact that they feature the decent from the fifth E downward. And more amazingly still: the same is true of the themes of the second and third movements as well! The opening theme of the first movement reappears in a near-literal quotation during the second movement. The most astonishing novelty, however, is the fact that, in the cadenza to the final Rondo, the orchestra participates as if the cadenza were an improvisation between two different partners! Only when the rondo theme reappears, played by the piano, does this unique cadenza come to an end. (Let it be noted, however, that the idea of an orchestra playing cadenzas, but without the piano, originated with Haydn. Mozart would go on to write a full cadenza for five instruments later when he composed his Quintet in E flat for piano, oboe, clarinet, bassoon, and Horn, K.452.)
The Andante middle movement begins sotto voce with muted strings and is written in a serious, even sad, vein. Its beautiful main subject is not original with Mozart, however, but is a quotation from the overture to the opera, La Calamità dei Cuori, by Johann Christian Bach, the youngest of Johann Sebastian Bach’s sons. This is hardly a coincidence: J.C. Bach, who had made a deep impression on the young Mozart when they first met in London in 1764-65, had died on the 1st of January 1782. In a letter to his father of April 10, Mozart wrote, “I suppose you have heard that the English Bach is dead? What a loss to the musical world!” This Andante movement would appear to be an elegy for Mozart’s old friend. This is one of those infrequent instances where a movement in the major key (but with some passages in the minor) can powerfully evoke sadness and sorrow. A particularly beautiful effect is the continuation of the first piano solo which, in its harmony, anticipates the Ave verum corpus K.618.
But in the third movement, Mozart gently leads us back to the serenity of the beginning: it takes nearly half a minute before the first joyous forte is struck by the orchestra. A mysterious unison motif which pervades the whole rondo is reminiscent of the serious mood of the Andante movement. It is interesting, too, that the solo piano does not start with the rondo theme but with a sort of improvisation foreshadowing a theme of the last movement of the C major sonata K.330, written a year later in 1783 (and not in 1778 as assumed by Köchel). It is this theme that will be picked up by the orchestra in dialogue with the piano towards the end of the cadenza, leading the work to a happy close.
Paul Badura-Skoda, January 2006
Symphony #5 in Bb Major D. 485
In 1808, the 11-year-old Schubert gained entry via scholarship to the Imperial Konvikt, a strict school with a mission to train musically talented boys with good voices. Students were allowed to remain until their voices broke and even beyond if their studies and morals were deemed worthy. The school provided a solid general education that could be faulted more for its lack of modernity than for lack of thoroughness. The young Schubert was a good student, giving lie to the myth that he was lacking in requisite intelligence. The eminent composer and theorist Antonio Salieri taught at the Convikt, and quickly recognized the youngster’s prodigious talent. Schubert remained a student there for an additional year after his voice broke in 1813.
From 1813 to 1818 Schubert composed on average one symphony a year. Because of his constant exposure to symphonies old and new at the Konvikt (where he played viola in the school orchestra and conducted on many occasions), his early symphonies already show an astonishing grasp of Classical form (the school orchestra played lots of Haydn, Mozart and Beethoven) allied to an innate lyricism that would seldom fail him.
The year 1816 found the 19-year-old composing as a man afire — a good thing in light of his tragically early death at age 31. Hundreds of compositions — mostly songs, but also chamber, orchestral and vocal/choral works, too — leapt from his feverish mind onto paper. An especially miraculous product of 1816 is his Symphony No. 5. If ever a work breathed the spirit of Mozart it is this utterly beguiling work. Foregoing clarinets, trumpets, a second flute and drums altogether (found in the first four symphonies), Schubert in this work created a symphony as chamber music. The guiding force is his superb gift for melody, which gives shape and thrust to the entire proceeding. Though its mood is prevailingly light, the fifth bears a resemblance to Mozart’s darker-hewn G minor symphony, K. 550. The key signature — two flats — is the same, and the minuet is in Mozart’s fateful key of G minor.
The first movement begins with a four-bar introduction that opens up to one of Schubert’s most familiar and delectable symphonic themes. Schubert makes effective use of the brief introductory material at key points, each time making subtle adjustments and adding cohesion to the flowing movement.
The ensuing andante con moto evokes Mozartean grace, yet sounds wholly Schubertian in its sentiment and lyricism. The minuet begins assertively in the manner of Mozart’s rhythmically ambiguous K. 550 minuet, but Schubert doesn’t remain serious for long, choosing to infuse the music with a steady stream of ingratiating melodies. Marked allegro moderato, the finale hearkens back to Mozart’s grace and Haydn’s jocularity, but here, too, Schubert’s sweet youthful voice wings the music upward and onward.
Lowe, Steven. "Program Notes: FRANZ SCHUBERT Symphony No. 5 in B-flat Major, D.485." Seattle Symphony. October 13, 2011. Accessed October 7, 2014.
GLEN CORTESE begins his eighth season as music director of the Greeley Philharmonic and his tenth season as artistic director of the Western New York Chamber. He was named music director emeritus of the Oregon Mozart Players after serving as artistic director for nine seasons. His recent guest engagements have included the RTSH Radio Orchestra (Albania) Emerald City Opera, Opera Fort Collins, Wolftrap Opera, The Charleston Symphony, the Sapporo Festival Orchestra, the Slovak Radio Orchestra the Sofia Philharmonic, the Hong Kong Sinfonietta, the Mexico City Philharmonic, Colorado Springs Philharmonic, the Paducah Symphony Orchestra, the Lafayette Symphony, the Billings Symphony, the Lyric Opera of Cleveland, and the Annapolis Symphony. He was resident conductor of the Florida Philharmonic for the 2001–2002 season and completed twelve seasons at the Manhattan School of Music where he was principal conductor from 1988 to 2000. He has appeared as guest conductor both in the United States and abroad with the Symphonies of New Jersey, Florida Philharmonic, Austin, Mexico City Philharmonic, North Carolina, Colorado Springs, Bangor, Meridian, Queens, New Amsterdam, The New Orleans Philharmonic, the International Chamber Orchestra, the Belarus Sate Philharmonic, Sofia Philharmonic National Romanian Radio Orchestra, Noorhollands Philharmonisch, Orquesta Sinfonica Carlos Chavez, San Francisco Conservatory, Cleveland Institute, and the Altenburg Landeskappele Orchestra. Mr. Cortese covered as assistant conductor to the New York Philharmonic in 1990–92 for Zubin Mehta, Leonard Slatkin, Charles Dutoit, Yuri Temirikanov, Erich Leinsdorf, Zdenek Macal and Cristof Perick. In July of 1993, he was invited by Kurt Masur to guest conduct a reading with the New York Philharmonic at Carnegie Hall.
In August of 1994, Mr. Cortese began his tenure as music director of the East-West International Symphony Orchestra in Altenburg, Germany, a position that he held for seven years. He conducted over fifty concerts and two operas in seven seasons with the orchestra, made up of advanced conservatory students from ten different nations. His work at the Manhattan School of Music included the school’s debut performances at Carnegie Hall, Lincoln Center and City Center as well as the MSM Orchestra’s first performance on “Live from Lincoln Center”. He received the honor of “Recording of the Month” in STEREOPHILE magazine for his release of Mahler’s Sixth Symphony with the Manhattan School on Titanic Records. His recording of Mahler’s Third Symphony with the Manhattan School was called “a remarkable achievement” in the American Record Guide.
In 2011 he conducted the world premiere of John Musto’s new opera, “The Inspector” at the Wolftrap Opera, and his other opera credits include guest conductor with the Florida Grand Opera, New York City Opera, the Cleveland Lyric Opera, the Maryland Opera Studio, the Bowdoin Summer Music Festival Opera Theater, the Manhattan School Opera Theater, and the East West International Opera Theater. Mr. Cortese’s credits in the world of dance include performances with the Connecticut Ballet, Joffrey II Ballet, the Elisa Monte Dance Company and the SUNY Purchase Dance Corps. He appeared regularly for five years as conductor for the Erick Hawkins Dance Company at Lincoln Center, the Kennedy Center, the Joyce Theatre and on national tours. He has conducted at numerous summer festivals including Chautauqua, Bowdoin Summer Music Festival, American Dance Festival, The New York Music Institute, Sewanee Music Festival and the Brevard Music Center. He has conducted performances of large collaborative projects including chorus, orchestra and dance at Carnegie Hall, as well as having performed in virtually every major performance venue in New York. His work in education is extensive, conducting community outreach programs, educational concerts and children's videos on classical music. Mr. Cortese has conducted concerti and solo works with many renowned performers, including Ransom Wilson, Sharon Isbin, Ruth Laredo, Nathaniel Rosen, Glenn Dicterow, Silvia McNair, Mignon Dunn and Dawn Upshaw. A strong advocate of new music, he has conducted over 150 premieres and has worked in direct collaboration with composers such as Milton Babbitt, Elliott Carter, John Corigliano, George Crumb, Richard Danielpour, Peter Maxwell Davies, Lukas Foss, Hans Werner Henze, and Ralph Shapey. In June of 1993 through 2000, he was the eight-time recipient of the ASCAP New and Adventuresome Programming Award for his work at the Manhattan School.
Mr. Cortese is also an accomplished composer and winner of numerous awards including the Charles Ives Scholarship from the American Academy of Arts and Letters, a two time winner of the Joseph E. Bearns Prize, and a CAPS Grant from the New York Council on the Arts. He is also the recipient of the Arthur Judson Foundation Award for a Young American Conductor and his discography includes recordings on the Bridge, Titanic, Newport Classics, Phoenix, Owl, CMS and Le Crepuscule du Disc labels.
DMITRI NOVGORODSKY- Hailed by the press as a "breathtaking" and "stunning" pianist, Dmitri Novgorodsky was born to a musical family in Odessa, Ukraine. He began to play the piano at age five and was admitted into a special music school for gifted children a year later. By the age of 16, he had won the First Prize at the Kazakhstan National Piano Competition, and later the Gold Medal of the National Festival of the Arts. After graduating from the studio of Professor Victor Merzhanov at Moscow Tchaikovsky Conservatory with high honors, Novgorodsky immigrated to Israel in 1991.
In 1992, he was offered a full scholarship for advanced studies at Yale University School of Music in the United States. Under the tutelage of Professor Boris Berman, he earned the Master of Music, the Master of Musical Arts, and the Doctor of Musical Arts degrees. Currently, Mr. Novgorodsky is the first and the only Moscow Tchaikovsky Conservatory graduate in Piano Performance to have earned the Doctor of Musical Arts in Piano Performance degree from Yale. In 1999, he was granted the "Extraordinary Abilities in the Arts" permanent U.S. residence, "as one of a small percentage of those who have risen to the top in their field of endeavor."
Dr. Novgorodsky has appeared in Russia, Ukraine, Byelorussia, Kazakhstan, Israel, France, Austria, Spain, Canada, Turkey and Taiwan. In the United States, he has performed at such venues as Carnegie Hall and Steinway Hall (New York City); the Kennedy Center and the Residence of Russian Ambassador to the Unites States (Washington, DC); the WLFN Talent Showcase (Philadelphia); the Chazen Museum of Art in Madison, W.I. (in live broadcast solo recitals). Most recently, together with violinist David Colwell, he performed recitals at the Deià International Music Festival and at the Palau March Summer Concert series in Palma de Mallorca, Spain.
One of four chamber compositions by contemporary authors Mr. Novgorodsky has premiered - "The Prophecy from 47 Ursae Majoris" for clarinet and piano by Andrew Paul MacDonald - won the 2001 Third International Web Concert Hall Competition, was performed at Carnegie Hall with Yamaha performig artist, Arthur Campbell, and became a part of the CD Premieres, released on the Gasparo label. A CD of pieces for oboe and piano by the 20th century Russian-Soviet composers, recorded in collaboration with Professor Mark Fink, was released by the University of Wisconsin Madison Press in the fall of 2007 and has been commercially available in the United States, United Kingdom, Canada, Germany, Sweden, Norway, Denmark, France, Spain, Czech Republic, Romania, Turkey, New Zealand, Australia, Greece, China, India, South Africa, and Japan.
Dr. Novgorodsky's pedagogical experience comprises more than 14 years of university teaching. His former students have continued their graduate studies at Juilliard, Manhattan School of Music, New England Conservatory, Cleveland Institute of Music, University of Cincinnati Conservatory of Music, University of Colorado Boulder and the University of Texas at Austin. He has been a piano faculty at Grand Valley State University, University of Wisconsin, Lawrence University Conservatory of Music, the Jerusalem Academy of Music and Dance. He joined the SUNY Fredonia School of Music as an Assistant Professor of Piano in Fall, 2012.
Borealis Wind Quintet
Borealis Wind Quintet
Friday, May 15, 2015
8:00 p.m. St. Luke’s Episcopal Church
Katherine Fink, flute; Tamar Beach Wells, oboe; Kathryn Taylor, clarinet;
Daniel Culpepper, french horn; Wayne Hileman, bassoon
Joining the traditional sounds of five classic wind instruments, the Grammy nominated Borealis Wind Quintet is an outstanding chamber ensemble. Their love of performing is reflected in a successful 30-year career with praise from critics and audiences alike. What truly sets them apart is their love of music, friendship and goal to make the best music possible. With reviews such as this one from the Philadelphia Inquirer stating “The group demonstrated the sort of rapport that characterizes the very best chamber playing,” it’s clear they’ve achieved what they set out to do.
Concerts are at St. Luke’s Episcopal Church and begin at 8:00 PM
Admission by Season Membership Pass (click to download form)
Individual concert tickets are available at the door the evening of the concert
or in advance at Reg Lenna Center for the Arts Box Office,
Chautauqua Music, Trinity Guitars, Germaine & Pappalardo,
or call 484-7070 or 487-1522.
Group rates available. Kids free w/ paid adult.
We hope to hear from YOU!!!
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All Warren concerts are held at the Struthers
Library Theatre in Warren, PA
and begin at 7:30 PM
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