42 2017-2018 SEASON

ARIEL HOROWITZHailed by The Washington Post as sweetly lyrical, violinist Ariel Horowitz cannot remember life before loving music. Winner of top prizes at the Stulberg and Irving M.Klein International String Competitions, she also was

the top prize winner in the highly competitive Juilliard School Violin Concerto Competition.

The Violin Channel praised Ariel’s artistic energy: “If they gave out prizes for attitude...we think we may have found the Olympic champion.” Ariel was a student of Itzhak Perlman and Catherine Cho at The Juilliard School and

is a recipient of the Arnold R. Deutsch/Dorothy DeLay Scholarship. She completed her degree in 2017 and is now in graduate studies at Yale School of Music, studying with Ani Kavafian.

In July 2015, Ariel performed the Mendelssohn Violin Concerto with the Baltimore Symphony Orchestra and Maestro Tito Munoz at the Strathmore Music Center and at the Meyerhoff Symphony Hall to rousing standing ovations. Ariel’s solo appearances also

include performances in America, Europe and Russia, as well as numerous recitals in the United States, Italy, France, Israel, Brazil, and Argentina. Ariel was featured on National Public Radio’s From The Top with pianist Christopher O’Reily in 2012, and at the From The Top Annual Gala in 2014.

Community outreach and service is an integral part of Ariel’s artistic commitment. Ariel is the founder of The Heartbeat Project, a student-run project that combines music and math education and cultural exchange for elementary school students on the Navajo Reservation. This project is generously supported through a Community Engagement Grant from The Juilliard School. At the London and Beijing Menuhin Competitions, Ariel was a Young Menuhin Ambassador, performing and teaching at local schools. Ariel served as Diversity Advocate (2014-15), Gluck Community Service Fellow (2014-16) and Resident Assistant (2015-16) at The Juilliard School. While a student, Ariel co-produced a food drive and recital at The Juilliard School to raise awareness for those affected by food poverty in the NYC area.

When not making music, Ariel enjoys reading Harry Potter, writing poetry, cooking, eating chocolate, making abstract paintings, spending time outdoors, journaling, watching movies and comedy shows, and spending time with her family and friends.

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Cathy Berns Rund hails originally from a grain and cattle farm in central Illinois. Her passion for music grew through childhood piano lessons along with singing and playing organ at her tiny parish church.

She earned her undergraduate degree in vocal performance from Eastern Illinois University, where she won top musical and academic honors, including the prestigious Livingston C. Lord Scholarship. She was later honored as a “Distinguished Young Alumnus” of EIU.

Cathy then followed her eventual husband, Rex, to

Haiti, where she taught piano and directed a well-known

boys’ choir, Les Petits Chanteurs, in Port-au-Prince. This taste of the

expatriate life whetted her appetite for more, and she won a Rotary International

scholarship to study opera at the famed Mozarteum in Salzburg, Austria. She worked with the legendary Mozart soprano Wilma Lipp on her way to winning the conservatory’s top prize for opera performance, the Lilli Lehmann Medallion. She was also a finalist in the European-wide Deutsche Rundfunk opera auditions. Upon graduation from the Mozarteum, she was engaged as a soloist for four years at the Vienna Staatsoper, one of the world’s elite opera houses, where she became Vienna’s favorite Papagena in Mozart’s The Magic Flute.

Since returning to America, Cathy has used her musical talent mostly in God’s service as music director, cantor, and organist at St. Joseph Catholic Church in Lebanon. She has appeared as cantor for the principal Mass at the national convention of the National Association of Pastoral Musicians, leading over 3000 church musicians from around the world in worship and song. She has also appeared as a soloist in choir tours to Lourdes, León, Burgos, Santiago de Compostela, Fatima, Salzburg, Assisi, and Rome, singing at Mass at St. Peter’s Basilica with Pope Benedict XVI.

Cathy and her husband take great pride and delight in their three children. They enjoy country life at their home near Lebanon, where they are avid gardeners, and Cathy, still a farm girl at heart, raises chickens for fresh eggs.

CATHY Berns ruND

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GREAT. LIVE. MUSIC.

2017-2018 SEASON LISTENALL FOR LOVE

Columbus Indiana PhilharmonicDavid Bowden, Music Director

Saturday, February 3, 2018 • 7:30 PMErne Auditorium • Columbus North High School

David Bowden, Conductor

Cathy Berns Rund, Soprano

Ariel Horowitz, Violin

Boléro Maurice Ravel

“Song to the Moon” scene from Rusalka, op. 114 Antonin Dvořák

“O Mio Babbino Caro” from Gianni Schicchi Giacomo Puccini

“Carmen Fantasy” Concert Fantasy on Themes Pablo de Sarasate for Violin and Orchestra, op. 25

INTERMISSION

Till Eulenspeigel‘s Merry Pranks Richard Strauss

“L’Amero saro constante” from Il Re Pastore Wolfgang Amadeus Mozart

Vocalise, op. 34, No. 14 Sergei Rachmaninoff

“My Funny Valentine” Rodgers & Hart/Powers

“Being part of the Columbus Indiana Philharmonic is the excitement of my life. The quality of music that is performed

through our extremely talented musicians is astounding. We play a variety of music from Broadway, jazz, pop music, piano concertos, and full symphonies. There is always new and exciting music for all ages. I always look forward to all

our concerts from the start of the season, through Christmas, playing for our 3rd and 4th graders in April at the JCB Adventure

Concert and Salute! in May!” Karen Durnil, Violin II

44 2017-2018 SEASON

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MAY 26TH • 7:00 PM

ALL FOR LOVE PROGRAM NOTESMaurice Ravel — BoléroBorn in France in 1875, Maurice Ravel showed plenty of early promise as a pianist and composer, and was accepted into the Paris Conservatory for training. However, after failing to win a competitive medal at the school for three years straight, he was expelled in 1895. Undaunted, Ravel returned to the school’s composition program. In 1900, he was expelled from that program, too.

By then, he was 25 years old. He had yet to produce any semblance of a publicly successful work. But, encouraged by his college teacher, the notable composer Gabriel Fauré, and a blossoming collegial relationship with the most famous French composer of the day, Claude Debussy, Ravel persevered.

Flash forward to today, when we find ourselves listening to one of the cornerstone works of the 20th century orchestral canon: Ravel’s Boléro. In hindsight, we recognize Ravel’s genius in virtually everything he wrote after his dismissal from school — and most certainly in this piece, which has been performed throughout the world, recorded and re-recorded by every major orchestra, and adapted for use in film, commercials and elsewhere.

During a seaside vacation with a friend in 1928, Ravel woke one morning and plinked out a melody on the piano. “Don’t you think this theme has a certain insistent quality?” he asked his friend. “I’m going to try and repeat it a number of times without any development, gradually increasing the

orchestra as best I can.” Upon returning home, he quickly set to work on the score, which he envisioned as a short ballet for Ida Rubinstein’s then-revered troupe.

The music followed Ravel’s conception exactly. As a snare drum taps out a repeating bolero rhythm, a succession of instruments — some alone, some in unusual groupings — play the melody and then join the accompaniment. The music swells with each addition, until a climactic and perfectly timed key change. The transition topples the balance, and the piece ends in a spectacular flourish.

Antonin Dvořák — “Song to the Moon,” from RusalkaPerhaps nowhere in Dvořák’s considerable musical output was his sense of nationalist pride more evident than in his operas. During his lifetime, he wrote nine full-length operas, several of them on quite a grand scale. Perhaps too grand: several require exceptionally large stages, to accommodate invading armies and other large groups of people.

For these reasons, Dvořák’s operas are almost never heard outside his native country anymore. The single exception is Rusalka, a three-act opera premiered in 1901. The opera is based on the fairy tales of Karel Jaromír Erben and Božena Němcová and tell a rather dark tale of a water sprite who falls in love with a human. Fantastical and blessed with a wealth of great melodies, Rusalka has been performed around the world since the composer’s death in 1904.

It helps that the opera includes arguably the most beautiful aria that Dvořák ever wrote, “Song to the Moon.” Sung in the opera by the infatuated water sprite, the aria represents her plea to the moon to inform the human prince of her love.

Song to the MoonMoon, high and deep in the sky

Your light sees far,You travel around the wide world,

and see into people’s homes.

Moon, stand still a whileand tell me where is my dear.

Tell him, silvery moon,that I am embracing him.For at least momentarily

let him recall of dreaming of me.

Illuminate him far away,and tell him, tell him who is waiting for him!If his human soul is in fact dreaming of me,

may the memory awaken him!Moonlight, don’t disappear, disappear!

Giacomo Puccini — “O mio babbino caro,” from Gianni SchicchiGiacomo Puccini was an anachronism in his own time. Across Europe, painters and composers and choreographers and authors were pushing the boundaries of conventional forms. Yet Puccini proved that there remained, then and today, a place for artists who revere simple beauty.

Gianni Schicchi is one in a trio of one-act operas by Puccini, collectively known as Il trittico. The composer penned them with the intent that they would be performed together on a single night. However, Gianni Schicchi is the only of the three that is

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MAY 26TH • 7:00 PM

ALL FOR LOVE PROGRAM NOTESnow often performed. It is a comic opera concerning a family’s scheme to rewrite the will of a deceased relative. For the most part it is “through-composed,” without the set pieces that comprised earlier operas. But Puccini knew that operas are ultimately known for great arias; and thus he inserted a single standalone aria, “O mio babbino caro” (“Oh my beloved father”). This soaring love song is today one of Puccini’s very best known melodies.

Oh, my dear daddy,I love him (her boyfriend), he is handsome.

I want to go to Porta RossaTo buy the wedding ring.

Yes, yes, I want to go there!And if my love were in vain,

I would go to the Ponte Vecchio (a bridge)And throw myself in the (river) Arno!

I am anguished and tormented!Oh, God, I wish to die!

Daddy, have pity, have pity!Daddy, have pity, have pity!

Pablo de Sarasate — Carmen FantasyIn 1875, the French composer Georges Bizet premiered what would become the most famous gypsy-inspired work of classical music ever: his opera, Carmen. Endowed with glorious marches, sultry arias, and a captivating tale of a gypsy woman whose free-spiritedness brings about her own demise, Carmen has become one of the most-performed operas in the world; its melodies have bled into popular culture through everything from Saturday morning cartoons to adult thriller movies.

Eight years after the opera’s premiere, a rising Spanish violin virtuoso named Pablo de Sarasate seized on its swelling popularity to bolster his own. Despite building his Carmen Fantasy around the catchy, even jaunty melodies of the opera, this was no phone-it-in cover treatment for Sarasate: His Fantasy has since endured in no small part because it is known as one of the most challenging works in the entire violin repertoire. Full of dazzling finger-tricks and exotic embellishments that hearken to the music’s gypsy inspiration, Sarasate’s short five-movement work is arguably the more true reflection of the culture that Bizet sought to highlight in his opera.

Richard Strauss — Till Eulenspiegel’s lustige StreicheIn the 1880s, Richard Strauss came under the influence of the composer Alexander Ritter, who was by then writing music that he called “symphonic poems” (a concept borrowed from Franz Liszt). Strauss took up the banner of this new style, declaring that “new ideas must seek new forms.”

Strauss’ first symphonic poem of importance was Don Juan. The work’s premiere (in 1889, when Strauss was 24 years old) cemented the composer’s fame as the leading progressive composer in Germany. And the best was yet to come. Between 1894 and 1898, Strauss produced four of his best-known orchestral works, beginning with Till Eulenspiegel’s lustige Streiche, which was completed in 1895. This work is perhaps second only to Also Sprach Zarathustra (which Strauss completed a year later) in terms of

widespread recognition today.

There is good reason. Till Eulenspiegel (the full title of which translates, “Till Eulenspiegel’s Merry Pranks, after the old rogue’s tale, set for large orchestra in rondo form”) is a brilliant work, one of Strauss’ most inventive and focused compositions.

Structured in one continuous movement of approximately 15 minutes, Till Eulenspiegel is a musical interpretation of a playful scenario about a legendary 14th-century rogue and his tragic end at the gallows. Strauss offered an almost exhaustive text describing the progression of scenes in the piece — Till Eulenspiegel is Strauss’ most “literal” tone poem.

The music begins with a violin melody, described as a “once upon a time” motif. Then follows a sprightly horn theme, which can be heard as Till’s signature throughout the work. A series of playful episodes follow as Till travels through the countryside. He topples the goods at a market, chases girls, and makes fun of the academics (a sly dig at the conservative musical bourgeoisie who criticized Strauss’ music). But then he mocks some very serious religious leaders. The music suddenly shifts to ominous tones: Till is arrested and accused of blasphemy. He argues and jokes with his executioner as he is marched to the gallows, but to no avail: with the wail of a clarinet and a pizzicato snap in the strings, he is hanged. The music ends with a nostalgic echo of Till’s theme: Even in death, his spirit lives on.

Continued on Pg. 46

46 2017-2018 SEASON 38 2016-2017 Season

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Columbus Indiana Children’s Choir

Ruth Dwyer is internationally recognized as a treble youth and children’s choir specialist and Kodály educator.  Mrs. Dwyer has been the guest conductor for the OAKE National Children’s Choir, numerous All-State and Honor Choirs, and the National Children’s Choir at Lincoln Center and for MidAmerica Productions Carnegie Hall Children and Youth Choral Festival. Mrs. Dwyer is the Founder and Artistic Director of the Hoosier Hills Choral Festival in Southern Indiana and of Philthrusong, Inc. (Philanthropy Th rough Song) a non-profi t organization supporting anti-drunk driving education and traumatic brain injury research through choral performance.  Ruth Dwyer earned both her Bachelor’s and Master’s degrees from Indiana University where she majored in music education and voice.  While attending Indiana University she also received her Kodály certifi cation under the guidance of Mary Goetze and Jean Sinor. She enjoys a good up of coff ee, visiting with family, reading, sailing and hiking in the mountains.

Camilla Gehring is a local singer and conductor who is active in many musical areas of the community. She is a member of the Columbus Philharmonic Board and has been a frequent soloist with the orchestra in addition to being a member of the Philharmonic Chorus for nearly 30 years. She is also Assistant Music Director of the Columbus Indiana Children’s Choir. Her work with young singers in choir in addition to singers she instructs in her vocal studio gives her much joy.

She earned her undergraduate degree in music from Indiana University School of Music and taught elementary music and performed with the Whitewater Opera Company in Richmond, IN. She also earned an MBA from Ball State University and was General Manager for the Minneapolis Chamber Symphony (now known as the Minnesota Sinfonia). While living in Minnesota she sang in two professional choirs and was a paid cantor at St. Mary’s Basilica. She has also been active in Mill Race Player productions in addition to performing regularly with Tom Pickett, singing with her church choir and as a soloist at many area churches.

RUTH DWYER CICC Artistic DirectorConcert Choir

CAMILLA GEHRINGCICC Co-DirectorDescant Choir

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Continued from Pg. 45Wolfgang Amadeus Mozart — “L’Amero saro costante,” from Il Re PastoreWolfgang Amadeus Mozart stands as the figurehead at the dawn western classical music. Sure, there was Bach before him, and Palestrina before him; but by and large the music we hear in the orchestral concert hall today begins with Mozart. His was a talent unmatched before or since, an ability that reminds us of the highest capacities of the human mind and spirit.

By 1775, the 19-year old composer was already so highly respected that he was commissioned to write an opera for a visit by Archduke Maximilian Francis of Austria. Within six weeks, Mozart completed Il Re Pastore (The Shepherd King), based on a libretto penned years earlier by Pietro Metastasio.

Il Re Pastore did not ultimately become one of the composer’s best-known operas, in part because it is in a kind of hybrid form known as a serenata. However, like most of Mozart’s other lesser-known operas, it contains highlights that are regularly featured on concert programs today.

The aria we will hear tonight, “L’Amero saro costante” (“I Shall Love Her, I Shall Be Constant”), is one such notable highlight. The song features a lovely and delicate melody for male soprano, interwoven with a countermelody played by solo violin.

I Shall Love Her, I Shall Be Constant[Aminta, who is soon to be king – a male soprano (castrato role), sings to his love,

Elisa]I shall love her; I shall be constant.A faithful husband; a faithful lover.

Only for her will I sigh.In so dear and sweet a creature

I will find my joy, my delight, and my peace.

Sergei Rachmaninoff — Vocalise for soprano, violin, & orchestraSergei Rachmaninoff was the most famous concert pianist at the turn of the 20th century, when concert pianists were the closest thing the world knew to today’s rock stars. Yet the Russian pianist longed for something more: He wished to be known as a composer first and foremost.

It was a tough road. For much of his career, Rachmaninoff’s original works were dismissed by the most influential music critics of the day. Today, however, Rachmaninoff’s gifts are regarded among classical music’s greatest treasures. His second and third piano concertos, along with his Rhapsody on a Theme of Paganini, are staples of the concerto repertoire; and his solo and chamber music is rightly revered.

Rachmaninoff composed Vocalise in 1915, as the last of his 14 Romances. Originally written for wordless high voice with piano accompaniment, the music was subsequently arranged for a variety of ensembles. Lullaby-like in its simplicity, Vocalise consists of a single melody that floats like a feather on the shifting breeze above a soft accompaniment.

Richard Rodgers — “My Funny Valentine,” from Babes in ArmsThe collaboration between composer Richard Rodgers and lyricist Lorenz Hart resulted in a string of twenty-three shows over the course of sixteen years. Along the way the duo produced a string of classic songs including “The Lady is a Tramp,” “The Most Beautiful Girl in the World,” and — perhaps most famously today — “My Funny Valentine.” These songs caught the American imagination with their Tin Pan Alley simplicity and whistle-on-the-way-home melodies.

“My Funny Valentine” was written in 1937 for the musical, Babes in Arms. Ironically, the song wasn’t a huge popular success at the time; in 1945 it appeared for a single week at number 16 on the pop charts. Since then, however, it has become a jazz and pop standard, and has been recorded by more than 600 artists.

ALL FOR LOVE PROGRAM NOTES

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