Music without Borders Oct Program

Music Without Borders 1

musicwithoutbordersNeighborhood Series L

G&E

All N

ew S

erie

s!

Teddy AbramsProspect

Magic Flute

Glenview

Jason Seber

Middletown

Firebird Suite

The Highlands

Bob Bernhardt

Figaro

Hikes Point

Emily Albrink

New Albany

AMEDEUScasual concerts

in your neighborhood

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Welcome to LG&E “Music Without Borders”, a new neighborhood concert series of the Louisville Orchestra! I am very excited about what this series represents - both musically and institutionally. These programs have all been

crafted to showcase the extraordinary artistry and virtuosity of the Louis-ville Orchestra in new locations throughout the Louisville region. I’ve

always thought of an orchestra as more than just an organization that presents performances; it should be the hub for the great-est and most inspiring music-making in our community. The Louisville community is broad, diverse and has a deep appre-ciation for great art. The region is represented by wonderfully strong, distinctive and beautiful neighborhoods. It is clear to me that to fulfill our mission of reaching all potential audiences in the region, we need to bring the orchestra to Louisvillians, wherever they might be!

The musicians and staff of the Louisville Orchestra have worked hard to define what a modern orchestra should be. While we love the Whitney Hall and Brown Theatre, our beautiful down-town concert halls, I think that it is critical to make music in places that people care about and feel connected to. We are working toward the flexibility of creating music wherever it is needed, or wherever it can make a difference in the life of our community. This might mean surprise pop-up concerts in parks or city streets, or programming at hospitals or shelters, or a program featuring

Beethoven or Mahler downtown; it is this definition and energy that inspired the “Music Without Borders” Series. Our hosts for each of

these performances have their own strong and meaningful communi-ties, and it is an honor to share our music with our new partners and friends.

My hope is that the Louisville Orchestra will be a topic that comes up regularly in our community. I feel strongly that music is a basic need, an essential means for connecting human beings - an orchestra is perhaps the most magnificent and grand musical organization. I want the great music that we play to be a part of the everyday lives of our community, and to create art to which our audiences feel powerfully connected. This series is the start of that goal, and we are very happy to have you join the Orchestra’s family!

FROM THESTAGE

Teddy Abrams, Music DirectorLouisville Orchestra

October 9 – 10, 2014RAVEL Le Tombeau de Couperin I. Prélude (in memory of First Lieutenant Jacques Charlot) II. Forlane: Allegretto (in memory of First Lieutenant Gabriel Deluc) III. Menuet: Allegro moderato (in memory of Jean Dreyfus) IV. Rigaudon: Assez vif (in memory of Pierre and Pascal Gaudin) BEETHOVEN Symphony No. 2 in D major, op. 36 Adagio molto: Allegro con brio Larghetto Scherzo: Allegro Allegro molto

Teddy Abrams conducts

BEETHOVEN

JOY AND SORROWThe meaning of life and death is the ultimate question that humanity has struggled to define and answer throughout history. Today, we are mesmer-ized by clips on Youtube of great joy; the exuberance of a unique “walk down the aisle” or the royal wedding of the decade. And we are equally fascinated by great tragedies that play out with unfortunate regularity on the news. We ask ourselves “why?” when a tragedy occurs whether it is created by nature or by humans. Surprisingly, we don’t ask the same question of great happiness; perhaps it is because we live vicariously through these voyeuristic moments of great joy.

For many of us, contemplating life and death is often prompted by very personal experiences. We process our thoughts by creating videos,

journals, songs and through other artistic means. Writes, artists, composers and musicians have done so for centuries. Two composers, Ludwig van Beethoven and Maurice Ravel, whose lives and

compositions are separated by more than one hundred years, expressed their personal experiences of joy and sorrow in the works you will hear tonight.

On the surface, you may wonder what these two men could possibly have in common; separated by a century and from different countries. But when we dig deeper, there are some surprising similarities between the impeccable Ravel and the irascible Beethoven. Both men were shaped by the times they lived in, much of which was dominated by war. For Beethoven, it was Napoleon’s campaign through Europe, and for Ravel, it was World War I. They were also deeply affected by the loss of friends and loved ones as well as struggles with their personal health. Yet from these well-springs of pain and loss, moments of great joy still shone through.

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“Your joy is your sorrow unmasked.

And the selfsame well from which your

laughter rises was oftentimes filled with

your tears.And how else can it be?

The deeper that sorrow carves into your

being, the more joy you can contain.”

The Prophet by Kahlil Gibran

4 Louisville Orchestra

A REMEMBRANCE OF FRIENDS AND TIMES GONE BYMaurice Ravel began composing a French suite for piano in 1914 that was completed in 1917, a period of time that covered most of World War I. Originally conceived as an homage to the golden era of French music, in particular the music of François Couperin (hence the use of Couperin in the title), Ravel’s suite instead became a remembrance of friends lost during the war. Ravel’s own role in the war was less than he had hoped as he wanted to serve in the Air Force, but at 5’3” he was too small. Instead, Ravel was able to enlist in the Thirteenth Artillery Regiment as a truck driver. He baptized his truck “Adélaïde” and took to signing his papers as “Chauffeur Ravel”. The job was exhausting and hazardous, and Ravel’s health suffered (he was 39 at the time).

In 1916, the National League for the Defense of French Music was formed and it was proposed that all music from German and Austrian composers be banned in France. While other notable French composers like d’Indy and Saint-Saëns signed the petition, Ravel refused. In a letter to the organization, Ravel stated that “it would even be dangerous for French composers to ignore systematically the productions of their foreign colleagues, and thus form themselves into a sort of national coterie: our musical art which is so rich at the present time, would soon degenerate, becoming isolated by its academic formulas.”

Ravel would suffer his greatest personal blow when his beloved mother died on January 5, 1917. It was a turning point in his career and his compositional output slowed dramatically to one completed composition a year. Ravel was discharged from military duty in 1917 and retreated to the home of Monsieur and Madame Fernand Dreyfus, about 60 miles from Paris. It was here that he completed the piano version of Le Tombeau de Couperin with each of the six movements dedicated to a fallen comrade. For the orchestral version, only four of the movements were fully orchestrated. Ravel used the forms of a baroque dance suite to create each move-ment. The opening movement “Prélude” sets the gentle tone for the entire piece and was dedicated to First Lieutenant Jacques Charlot, a cousin of Jacques Durand who transcribed several of Ravel’s works. The second movement “Forlane” is based on a Northern Italian folk dance and was dedicated to First Lieutenant Gabriel Deluc (a Basque painter). For this movement, Ravel transcribed a Couperin Forlane as a way to learn composer’s style. The third movement “Menuet” is based on the French dance in ¾ time and was dedicated to Jean Dreyfus, the son of Monsieur Dreyfus. The fourth and final movement of the orchestral version “Rigaudon” was dedicated to Ravel’s childhood friends Pierre and Pascal Gaudin (both killed by the same shell on their first day on the front lines). The Rigaudon is a lively French dance in 2/4 time that became extremely popular during the reign of Louis XIV (reigned 1643 – 1715).

After the war, Ravel continued to compose and he even orchestrated other composers’ work to much acclaim, including Mussorgsky’s Pictures at an Exhibition in 1922. In 1930, Ravel would complete his most notorious work, Boléro, as well as his piano Concerto for the Left Hand for Austrian pianist Paul Wittgenstein who lost his right arm in World War I.

BORN: March 7, 1875 in the Basque town of Ciboure, France (near the border with Spain)

DIED: December 28, 1937 in Paris, France

Le Tombeau de CouperinFIRST PERFORMANCEPiano version - April 11, 1919 by Marguerite Long in the concert hall of the Salle Gaveau in Paris (Gaveau was a French piano manufacturer) Orchestral version – February 28, 1920 with conductor Rhené-Baton

LO PREMIEREOctober 10, 1967 Jorge Mester conducting

MOST RECENT LO PERFORMANCEApril 29, 2011 Jorge Mester conducting

SCORING2 flutes (one doubling piccolo)2 oboes (one doubling English horn)2 clarinets2 bassoons2 hornsTrumpetHarp Strings

PERFORMANCE TIME Approximately 16 minutes

1770Beethoven born (Bonn, Germany)

1801-1802

Beethoven - Symphony No. 2 in D major

March 4,1801Thomas Jefferson inaugurated as the second President of the United States

1804 -1808

Beethoven - Symphony No. 5 in C minor

STATSMaurice Ravel


A PROFOUND LOSSIn the spring of 1802, on the advice of his doctor, Ludwig van Beethoven tempo-rarily moved to the small town of Heiligenstadt (on the outskirts of Vienna). The town’s hot springs were thought to provide relief from a variety of ailments, and as Beethoven suffered from intestinal issues as well as his encroaching deafness, this seemed to be a good plan. The scope of Beethoven’s deafness has been cause for much speculation over the years. As early as 1796, Beethoven began to lose his hearing. According to the composer’s letters, his ears “sing and buzz constantly, day and night”. It was likely Beethoven was suffering from tinnitus that progressed to profound hearing loss by 1814.

But in the summer and fall of 1802, even though he was greatly concerned about his health problems, creatively Beethoven was on fire. He seemed to realize this as he stated in a letter to a friend “I live only in my notes, and with one work barely finished, the other is already started; the way I now write I often find myself working on three, four things at once.” Perhaps Beethoven sensed that he had a limited time left in which he could hear his work. The “will” he wrote to his brothers during his time in Heiligenstadt seemed to indicate that he was concerned he had little time left on earth. The will became known as the Heiligenstadt Testament but Beethoven would live another 25 years.

Beethoven’s Second Symphony was completed in the fall of 1802 and premiered the following spring. This symphony signaled the end of his early period and upon his return from Heiligenstadt, his work took a dramatic turn that fathered in the Romantic Era. The first movement begins in a slow tempo (Adagio Molto), exploring large, expressive harmonies and lovely lyricism that segue into the second section; a sprightly and high spirited Allegro con brio. In contrast to the lively first movement, the second movement (Larghetto) is leisurely and reflective. This movement contains ideas and elements Beethoven will explore and expand in his Sixth Symphony (Pastoral). Instead of the traditional Minuet for the third movement, Beethoven turns tradition on its ear by writing a Scherzo (Allegro); an almost joking style that tells us he is going to compose music on his own terms. The fourth movement finale (Allegro molto) combines the grand scale of movements one and two with the lightness of the third to give a most satisfying end to the symphony.

BORN: December 16, 1770 in Bonn, Germany

DIED: March 26, 1827 in Vienna, Austria

Symphony No. 2 in D majorFIRST PERFORMANCE

April 5, 1803 at the Theater an der Wien in Vienna, Austria

LO PREMIERENovember 14, 1939

Robert Whitney conducting

MOST RECENT LO PERFORMANCEJanuary 13, 2007

Daniel Hege conducting

SCORING2 flutes

2 oboes 2 clarinets in A

2 bassoons2 horns in D and E

2 trumpets in DTimpaniStrings

PERFORMANCE TIMEApproximately 35 minutes

Beethoven - Symphony No. 5 in C minor

1827Beethoven diesEnd of Classical Era

1875

Ravel born (Ciboure, France)

1914 – 1917Ravel - Le Tombeau de Couperin (1914 – 1917, orchestral version in 1919)

July 28, 1914- Nov 11, 1918

World War I

1937Ravel dies

STATSLudwig van Beethoven

MEET THE MUSICIANS – ANDREA LEVINEI started playing the clarinet in 5th grade, in Queens, New York. I was drawn to the clarinet at that young age because it wasn’t the flute (at my school we only had two choices) and I thought the clarinet looked nicer. Anyway, I was hooked and have been playing ever since. I have been principal clarinet of the Louisville Orchestra since 2003.

The clarinet figures large in some of the repertoire on this concert. Klezmer music often features the clarinet. I’m not sure exactly why that is, but it may have something to do with the clarinet’s range, its ability to play high notes at a loud volume, and its ability to gliss, or bend the pitch on and between notes. I always find klezmer music challenging; I feel like it really stretches my ability since I don’t get to play it that often. The rhythmic patterns are different from the typical classical pieces we play in the orchestra, and I feel like I have to play a different character.

The Dances of Galánta by Zoltán Kodály is one of the biggest solo oppor-tunities that we have as clarinetists within the orchestral repertoire. As with klezmer, playing this piece well also requires a different character. Through years of music school and training, all of my teachers emphasized how many of the rhythms in Galánta are rooted in Hungarian speech patterns. As I don’t speak Hungarian, I don’t really know if that’s true, but I hope that I would make my teachers proud if they heard me play it this weekend.

In Stravinsky’s Suite from The Firebird, I have my work cut out for me. The whole orchestra does. There are beautiful moments for each woodwind instrument in the slow sections, as well some technically challenging passages such as in the Firebird’s Variation, and the Infernal Dance. What makes me forget about how tough it is to play is how moving the music is. Many of you in the audience will recognize parts of The Firebird and I hope you all enjoy it!

FROM THESTAGE

Andrea Levine, Principal ClarinetLouisville Orchestra

EXPLORING THE MUSIC OF HUNGARY AND RUSSIABoth Hungary and Russia have rich classical music traditions that date

back to the early 19th century with earlier music that was primarily sacred (church) and/or secular (folk). Hungarian classical music was

dominated by German or Viennese compositional styles and Russian classical music lagged behind as the Russian Orthodox Church officially

condemned secular music. Western European musicians and composers had certainly made appearances in the Imperial Russian courts but under Peter I (“the

Great”), they were welcomed and celebrated as Peter believed that European music was a mark of civilization.

The early 19th century brought musical change to both countries with composers Mikhail Glinka in Russia and Franz Liszt in Hungary. Both men valued the use of national folk musical idioms in their compositions and inspired new generations of composers. In Russia, these composers included “The Five” (Balakirev, Cui, Mussorgsky, Rimsky-Kor-sakov and Borodin) followed by Tchaikovsky, Rachmaninoff, Stravinsky, Shostakovich and contemporary composers Alexander Zhurbin and his son Lev (“Ljova”). In

Hungary, these composers included Bartók and Kodály.

Teddy Abrams conducts

THE FIREBIRDOctober 23-25, 2014LISZT Hungarian Rhapsody No. 2, in C Minor arr. Müller Berghaus (1847 piano, published 1851 for orchestra)

KODÁLY Dances of Galánta (1933)

ZHURBIN Klezmer Tanz Suite (2014)

STRAVINSKY The Firebird: Suite (1919)

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THE CELEBRITY HUNGARIANOne of the first great Hungarian classical composers and ambassadors was Franz Liszt. Even though he was born in Hungary, after the age of 10 much of Liszt’s life was spent traveling and performing throughout Europe. But he never forgot the music from his childhood, listening to his father play sacred and Romani music on the piano. A virtuoso pianist and prolific composer, Liszt’s works are catalogued using an “S” for Howard Searle who compiled the list for Grove Dictionary in the 1960s (like the Mozart catalogue with “K” for Köchel). Not only did he compose his own original works but also transcribed and arranged the music of other composers as well. Liszt was also the rock star of his generation, causing what the critics called “Lisztomania” amongst his rabid fans. His electrifying performances were said to create a level of mystical ecstasy and souvenirs like his velvet gloves and silk hand-kerchiefs were greatly prized – and Liszt usually obliged by throwing them into the audience.

The Hungarian Rhapsodies for piano (there are 19) were an outgrowth of Liszt’s fascination with music of Hungary and Gypsy band music. At the height of his fame, Liszt wrote a book celebrating Romani (gypsy) music; Les bohémiens et leur musique en Hongrie (The Gypsies and their music in Hungary, published 1859). He sought out Romani musicians to study their music and greatly admired their musical prowess and creativity. Liszt believed that Romani music and rhythm was the foundation of Hungarian folk music, offending many of his Hungarian contemporaries. Liszt endeavored to transcribe Romani melodies he heard during his research calling them “Magyar Dallok” (Hungarian National Melodies) then improvising into what became the Hungarian Rhapsodies for piano.

Hungarian Rhapsody No. 2 is the best known as it has made its appearance in many cartoons beginning with Mickey Mouse in 1929’s The Opry House to Who Framed Roger Rabbit? (1988) in the dueling piano scene between ducks; Daffy and Donald.

The structure of this Rhapsody (csárdás) maintains two of the typical Romani elements in their improvisations; the slow section (lassan) and the fast section (friska). The Rhapsody begins with the lassan in minor, and the mood is dark although there are moments of playfulness (listen in particular to the clarinet). A return to the somberness of the opening with the melody in the lower strings is quickly followed by a lighter feel by returning the melody to the upper strings and woodwinds. This segues into the friska that quickly builds the tempo into an almost fervent pitch (this is the section most will remember from the cartoons).

BORN: October 22, 1811 in Doborján (German: Raiding), Hungary

DIED: July 31, 1886 in Bayreuth, Germany

Hungarian Rhapsody No. 2LO PREMIERE (EXCERPT)January 11, 1990 Adrian Gnam conducting

MOST RECENT LO PERFORMANCEMarch 18, 2010 Bob Bernhardt conducting

SCORING2 flutes 2 oboes 2 clarinets 2 bassoons4 horns2 trumpets in F3 trombonesTubaTimpaniPercussionHarpStrings


STATSFranz Liszt

1811Liszt born (Doborján, Hungary)

Liszt - Hungarian Rhapsody No. 2, in C Minor

1847-54

Oct. 1847Jane Eyre by Charlotte Brontë is published under the pen name Currer Bell


THE FATHER OF HUNGARIAN MUSIC EDUCATIONEven if you’ve never heard of Zoltán Kodály before, if you’ve seen Steven Spiel-berg’s Close Encounters of the Third Kind (1977), then you are familiar with one aspect of the Kodály method of music education. But we are getting ahead of ourselves so let’s go back to the late 19th century in Hungary where Kodály’s story begins. Born in 1882 to a railway official, early life for Zoltán was spent traveling with his family but at least seven of his earliest years were spent living in Galánta. He studied piano, violin and sang in church choirs, where he gained an appreciation for choral singing. He taught himself to play the cello and began composing music in his teens. At the turn of the 20th century, Zoltán was studying modern languages in Budapest but music was still his passion and he enrolled in the Academy of Music in 1906. He was intensely interested in traditional Hungarian folk songs – “a good folk song is a perfect masterpiece in itself”.

In the mid-1920s, Zoltán became very concerned about the poor quality of music education in Hungary. In 1935, Zoltán partnered with composer and music educator Jenö Ádám to begin reforming music education by centering on new curric-ulum and new teaching methods many of which were adapted from other methodol-ogies. The Kodály method was based primarily on authentic folk music and quality composed music. With fellow Hungarian composer Béla Bartók, Zoltán collected and published six volumes of Hungarian folk music. When Zoltán published several books with this new methodology, the impact was profound. In 1945, Hungary began implementing his methodology in public schools and now, along with Orff, Dalcroze and Suzuki, the Kodály method is standard music education practice around the world.

This brings us back to Close Encounters of the Third Kind . . . there are two sequences in particular that feature the Kodály method of hand signs. Hand signs were developed as a visual representation of notes so as the movie progresses, it is learned that the UFOs that have been sighted emit a five-tone musical phrase in a major scale. When the French scientist explains this musical phrase at a lecture, he uses the Kodály hand signs. And again, when he meets the aliens, he communicates using those same hand signs.

Dances of Galánta was composed in the Hungarian style of “verbunkos”, an 18th century music genre primarily used for military recruitment. Through the five short movements, we are treated to various permutations of the verbunkos style featuring the clarinet in lieu of the traditional Hungarian tárogató. One of his most popular orchestral works, Kodaly’s commentary is as follows: “Galánta is a small Hungarian market town known to travelers between Vienna and Budapest. The composer passed seven years of his childhood there. At that time there existed a famous gypsy band that has since disappeared. This was the first ‘orchestral’ sonority that came to the ears of the child. The forebears of these gypsies were already known more than a hundred years ago. About 1800 some books of Hungarian dances were published in Vienna, one of which contained music ‘after several Gypsies from Galánta.’ They have preserved the old traditions. In order to keep it alive, the composer has taken his principal themes from these old publications.”

BORN: December 16, 1882 in Kecskemét, Hungary

DIED: March 6, 1967 in Budapest, Hungary

Dances of GalántaFIRST PERFORMANCE

October 23, 1933 Commissioned for the Budapest Philharmonic’s 80th anniversary

conducted by Ernst Von Dohnányi

LO PREMIERE December 10, 1971

Gabor Otvos conducting

MOST RECENT LO PERFORMANCESeptember 7, 2006

David Lockington conducting

SCORING2 flutes

2 oboes 2 clarinets

2 bassoons4 horns

2 trumpets Timpani

PercussionStrings


STATSZoltán Kodály

Stravinsky born (Oranienbaum, Russia outside of St. Petersburg)

June 1882

Dec. 1882Kodály born (Kecskemét, Hungary)

1886Liszt dies

Stravinsky - The Firebird: Suite (1919)

1919

Jan. 191918th Amendment authorizing Prohibition is ratified


BORN: August 18, 1978 in Moscow, Russia

Klezmer Tanz SuiteFIRST PERFORMANCE2014 Detroit Symphony Orchestra

LO PREMIERE October 23, 2014 Teddy Abrams conducting

SCORING1 flute 1 oboe 2 clarinets 1 bassoon2 trumpets 1 tromboneDrum setPianoStrings


KLEZMER – VESSELS OF SONGKlezmer is a musical genre, primarily dance music, of the Ashkenazi Jews of Eastern Europe. While it is believed that the roots of this music date back to ancient history, there is very little written about klezmer until the 15th century (as it was an aural tradition, this was not unusual). The musicians (klezmorim) were well versed in not only traditional folk music but also became a melting pot as they travelled throughout Europe picking up styles from groups like the Romani/gypsies. Although klezmer is secular music (played at weddings and special occasions), much of this instrumental music was drawn from the vocal music in synagogue; in particular the voice of the cantor. Instruments like the violin and the clarinet began to imitate the vocal lines of the cantor, hence their very unique sound in this musical genre.

When these Yiddish speaking Jewish immigrants came to the United Stated in the late 19th and early 20th centuries, they brought klezmer with them. Once in the U.S., the klemorim were greatly influenced by American jazz. And classical Jewish composers like Mahler, Gershwin and Bernstein infused some of their works with music from their youth – many believe that the opening clarinet glissando from Gershwin’s Rhapsody in Blue is a reference to the clarinet style in klezmer.

Broadway and Hollywood also took notice. Fiddler on the Roof, Schindler’s List and Prince of Egypt are just a few of the shows, movies and soundtrack scores featuring elements of klezmer. Today, award winning artists like Itzhak Perlman and the Klezmatics continue to expand the repertoire and the reach of klezmer.

Notes from the Composer “The Klezmer Tanz Suite is a medley of three compositions -- the first is a Zhok -- a gentle dance in 3/8 time, most likely from Bessarabia, an Eastern European region now on the territory of Moldova & Ukraine. The second is “Zeydn’s Tants”, a composition by Dave Tarras, the legendary Ukrainian clarinetist, who immigrated to New York in 1921 and thrived in the burgeoning Klezmer scene. The final piece is an original composition of mine, “Budget Bulgar” - it was sketched at a wedding reception in New Jersey, and is homage to a contemporary giant of Klezmer music, the pianist Pete Sokolow. This Suite was commissioned by the Detroit Symphony Orchestra through the Cohn-Haddow Center for Judaic Studies at Wayne State University.”

STATS Lev “Ljova” Zhurbin

1933Kodály - Dances of Galánta

Franklin D. Roosevelt inaugural speech “the only thing we have to fear is fear itself”

March 1933

1967Kodály dies

Stravinsky dies

1971


BORN: June 17, 1882 in Oranienbaum, Russia outside of

St. Petersburg

DIED: April 6, 1971 in New York City, NY

The Firebird: Suite 1919FIRST PERFORMANCE

June 25, 1910 in Paris for Sergei Diaghilev’s Ballets Russes

Gabriel Pierné conducting

LO PREMIERE November 1, 1952

Robert Whitney conducting

MOST RECENT LO PERFORMANCEMay 22, 2003 (entire suite)

Uriel Segal conducting

SCORING2 Flutes (2nd also Piccolo)

2 Oboes (2nd also English Horn)2 Clarinets2 Bassoons

4 Horns2 Trumpets

3 TrombonesTuba

TimpaniPercussion

HarpPiano

Strings


A RUSSIAN IN PARISCollaboration can spark true genius – take as an example the partnership between composer Igor Stravinsky and impresario Sergei Diaghilev. Between 1910 and 1913, these men would produce three ballets that would change the world of dance and music. Perhaps it was inevitable that the paths of these two men would intersect. Both attended university in St. Petersburg, and studied with famed Russian composer Nikolai Rimsky-Korsakov. In 1909, Diaghilev formed the ballet company that would become the Ballets Russes. That same year, Diaghilev attended a concert in Saint Petersburg that featured two works by Stravinsky; Feu d’artifice (Fireworks) and Scherzo fantastique. Diaghilev was impressed and asked Stravinsky to orches-trate select works by Chopin for his company followed by the commission to create a full length ballet, L’oiseu de feu (The Firebird). In addition to Stravinsky, Diaghilev recruited choreographer Michel Fokine, designer Léon Bakst and dancer Vaslav Nijinsky. The team worked to prepare The Firebird for the June 25, 1910 premiere as part of the new Ballets Russes season in Paris. The result was a smashing success that thrust the 28 year old composer and the rest of the creative team into the Paris limelight. This success was followed in 1911 with Petrushka and the notorious 1913 The Rite of Spring.

The story itself stems from several Slavic fairy tales about the mythical firebird. In this version, Prince Ivan encounters the firebird (half woman, half bird) while in the magical realm of Katschei the Immortal (the villain of the story). He captures her and in return for her release, the firebird agrees to assist the Prince in his quest. He falls in love with one of the thirteen princesses held captive by Katschei. Ivan approaches Katschei about marrying her but the talks dissolve and Katschei sends all of his magical creatures after Ivan. The firebird intervenes and bewitches the magical crea-tures to begin dancing (the Infernal Dance). The firebird reveals to Ivan that Katsch-ei’s soul is kept in a magical egg and that if destroyed, Katschei will die. Ivan finds and destroys the egg, releasing all of the magical creatures and princesses from Katschei’s spell. And they all (except Katschei) live happily ever after.

Stravinsky arranged three orchestral suites from the ballet music of The Firebird with the most popular in 1919. The Firebird: Suite 1919 is divided into five movements, opening with the somber introduction into the dark world of Katschei transitioning into the brilliant music of the firebird. The second movement is The Princesses’ Khor-ovod (dance of the Golden Apples by the thirteen princesses). The third movement is the Infernal Dance of Katschei followed by the fourth movement Berceuse (lullaby). The fifth movement is the finale and brings to a glorious close the tale of the Firebird.

When reimagining the Fantasia for a new audience, the team at Walt Disney decided to feature an abridged version of The Firebird: Suite 1919 in Fantasia 2000. The segment opens with the elk companion and the Spring Sprite as she brings life back the forest. She accidentally awakens the Firebird (in this instance, the spirit of the volcano) that destroys the forest. She survives and with the elk, ultimately brings life back to the entire forest.

STATSIgor Stravinsky

1978 Zhurbin born (Moscow, Russia)

Zhurbin - Klezmer Tanz Suite commissioned by Teddy Abrams and the Detroit Symphony Orchestra

2014

Aug. 2014NASA’s New Horizons spacecraft will cross the orbit of Neptune on its way to study Pluto


LEARN MORE ABOUT IT If you’d like to learn more about the music you have heard in our Music without Borders Series, here are some ideas to get you started (including more opportunities to hear the Louisville Orchestra play more music from these great composers).

RavelMother Goose Suite on January 16, 2015 conducted by Jorge Mester

Ravel, Man and Musician and A Ravel Reader (Dover Books on Music) by Arbie Orenstein

Beethoven Beethoven’s Fifth on April 25, 2015 conducted by Teddy Abrams

Beethoven: Anguish and Triumph by Jan Swafford (published August 2014)

Beethoven: The Man Revealed by John Suchet (published December 2013)

Immortal Beloved starring Gary Oldman and Isabella Rossellini

LisztFranz Liszt: The Virtuoso Years, 1811-1847, Vol. 1 by Alan Walker (published 1988)

An Artist’s Journey: Lettres d’un bachelier es musique, 1835-1841 by Franz Liszt

KodályThe International Kodály Society: http://www.iks.hu/

ZhurbinLev “Ljova” Zhurbin’s website: http://www.ljova.com/

StravinskyAn Autobiography by Igor Stravinsky

The Music of Stravinsky by Stephen Walsh (published in 1993)

For more on 20th century composers:

The Rest is Noise; Listening to the Twentieth Century by Alex Ross (published in 2007)

UPCOMING EVENTS AT THE LOUISVILLE ORCHESTRACarmina buranaTreyton Oak Towers Coffee ConcertThu Oct 16 • 10:30am • Whitney HallHilliard Lyons ClassicsFri Oct 17 • 8pm • Whitney Hall

Teddy Abrams, conductor • Kent Hatteberg, chorusmaster Celena Shafer, soprano • Javier Abreu, tenor • Hugh Russell, baritone

Ives The Unanswered Questionarr. Abrams Medieval Dance from Carmina burana Tallis Spem in AliumMozart Vesperae solennes de confessore V. “Laudate Dominum” Shaw Oculi Mei Kittel Big Fiddle Orff Carmina burana

“Satchmo” A Tribute to Louis Armstrong with Byron StriplingLG&E PopsSat Oct 18 • 8pm • Whitney HallBob Bernhardt, conductor

With the passion and swagger of Louis Armstrong himself, acclaimed trum-peter/vocalist Byron Stripling headlines a fantastic program of Jazz and Swing.

Sibelius Violin ConcertoTreyton Oak Towers Coffee ConcertThu Nov 6 • 10:30am • Whitney HallHilliard Lyons ClassicsSat Nov 8 • 8pm • Whitney Hall

Jorge Mester, conductor • Elmar Oliveira, violin

Sibelius FinlandiaSibelius Violin ConcertoMendelssohn Symphony No. 3 (Scottish)

LOUISVILLE ORCHESTRA 2014 RAFFLE

FIRST PRIZE: First Class round trip for two to attend a concert of The New World Symphony under the baton of the Louisville Orchestra’s new Music Director, Teddy Abrams with soloist Joshua Bell at the Adrienne Arsht Center in Miami, FL on March 21, 2015.Includes:

•First class round trip airfare between Louisville and Miami.•Two nights hotel accommodations at the Four Seasons Miami.•Concert tickets and pre-concert dinner.•Backstage Meet and Greet with Teddy Abrams following the concert.

SECOND PRIZE: Four concert Choose Your Own Subscription to the Louisville Orchestra with a $100 gift certificate for dinner at Vincenzo’s

THIRD PRIZE: $100 gift certificate for Louisville Orchestra performance in 2014-2015 season.

Commonwealth of Kentucky Charitable Gaming License #0988.

TICKETS $50on sale now!

Visit table in the Lobby or Call 502-585-9433


FIRST VIOLINMichael Davis, Concertmaster

Fanny and Charles Horner Concertmaster Chair

Caitlin Kelley, Interim Assistant Concertmaster

National City Bank ChairKatheryn S. OhkuboCheri Lyon Kelley

Mrs. John H. Clay ChairStephen Taylor

Clayton Pusateri Chair, Endowed by Joe and Vickie Pusateri

Scott StaidleNancy StaidleBarbara MeekPatricia FongOpenTamara Meinecke *

SECOND VIOLINRobert Simonds, Principal

Claire and Lee Lenkoff ChairDevonie Freeman

Mary Catherine Klan Violin Chair, Endowed by Chase

Elisa SpaldingKimberly Tichenor, Acting Assistant PrincipalCharles Brestel

Patricia Ann Jenkins Endowed ChairHeidi TracyJudy Pease WilsonBlaise Hayden SmithClinton Grosz

VIOLAJack Griffin, Principal

Aegon ChairEvan Vicic, Assistant Principal

Jacqueline R. and Theodore S. Rosky ChairClara Markham

Mr. and Mrs. Charles W. Hebel, Jr. ChairJennifer ShackletonJonathan Mueller

Virginia Kershner Schneider Viola Chair, Endowed in Honor of Emilie Strong Smith by an Anonymous Donor

Meghan Casper

CELLONicholas Finch, Principal

Thomas Mattingly and Anita Grenough Abell Memorial Chair

Joseph Caruso, Assistant PrincipalCarole C. Birkhead Chair, Endowed by Dr. Ben M. Birkhead

Christina HintonDr. Edward Leo Callahan Chair

Allison B. OlsenFrances Shapiro-Weitzenhoffer Chair, Endowed by Esther & Dr. David Shapiro

Deborah CarusoJulia Preston

BASSBert Witzel, PrincipalPatricia Docs, Acting Assistant PrincipalRobert DocsKarl Olsen

Jarrett Fankhauser Chair, Endowed by the Paul Ogle Foundation

Michael Chmilewski

FLUTEKathleen Karr, Principal

Elaine Klein ChairDonald Gottlieb

Philip M. Lanier Chair

PICCOLODonald Gottlieb

Alvis R. Hambrick Chair

OBOEJennifer Potochnic, Principal

Betty Arrasmith Chair, Endowed by the Association of the Louisville Orchestra

Trevor Johnson, Assistant PrincipalEdgar J. Hinson III Chair

ENGLISH HORNTrevor Johnson

CLARINETAndrea Levine, Principal

Brown-Forman Corp. ChairErnest Gross

Kate H. and Julian P. Van Winkle, Jr. Chair

BASS CLARINETErnest Gross

General Dillman A. Rash Chair

BASSOONMatthew Karr, Principal

Paul D. McDowell ChairChristopher Reid §

HORNJon Gustely, Principal

Edith S. and Barry Bingham, Jr. ChairStephen Causey, Assistant PrincipalDiana Wade Morgen

Gary and Sue Russell ChairBruce Heim §

TRUMPETJ. Jerome Amend, Principal

Leon Rapier Chair, Endowed by the Musicians of the Louisville Orchestra

James Recktenwald, Assistant PrincipalLynne A. Redgrave Chair

Daniel Kassteen

TROMBONEDonna Parkes, Principal

PNC Bank, Kentucky, Inc. ChairBrett Shuster §

BASS TROMBONERaymond Horton

TUBAJohn DiCesare, Principal

TIMPANIJim Rago, Principal

Mr. and Mrs. Warwick Dudley Musson Principal Timpani Chair

PERCUSSIONJohn Pedroja, PrincipalMark Tate §

HARPMary Julian Rapier, Principal

The Humana Foundation Chair

KEYBOARDGrace Baugh-Bennett §

Margaret S. Comstock Piano Chair

* Musician On Leave§ Auxiliary Musician

Teddy Abrams, Music Director, Mary and Barry Bingham, Sr., Music Director Chair

Jorge Mester, Music Director EmeritusBob Bernhardt, Principal Pops Conductor

Jason Seber, Education and Outreach Conductor

Louisville Orchestra


$250,000 +Founders CircleChristina Lee Brown

$100,000 - $249,999Virtuoso CircleMr. and Mrs. David A. Jones, Sr.Association of the Louisville Orchestra

$75,000 - $99,999Maestro Circle

$25,000 - $74,999Platinum Baton GuildBrooke and Matthew BarzunMr. Owsley Brown, IIIMr. and Mrs. George S. Gibbs, IIIAugusta and Gill HollandJohn and Ingrid JohnsonMr. Todd P. Lowe and Ms. Fran C. RattermanMr. and Mrs. Gary M. RussellMr. and Mrs. James S. Welch, Jr.

$15,000 - $24,999Gold Baton GuildBob and Nora BernhardtMr. and Mrs. Charles W. Hebel, Jr.Mr. and Mrs. James O. KingEstate of Mrs. S. Arnold LynchMr. and Mrs. Guy MontgomeryMr. and Mrs. Warwick MussonMrs. Jane Feltus WelchDr. and Mrs. Richard Wolf

$10,000 - $14,999Sterling Baton GuildMrs. Kendra D. Foster and Mr. Turney P. BerryMr. David A. Jones, Jr. and Mrs. Mary Gwen

WheelerDr. Virginia KeeneyMr. John E. KingMr. Joseph A. Paradis, IIIMr. and Mrs. Bruce J. RothMrs. Denise Schiller

$5,000 - $9,999Bronze Baton GuildMr. and Mrs. Steve BaileyMrs. Edith S. BinghamMr. and Mrs. David C. DaultonMrs. Elizabeth W. DavisDr. and Mrs. Charles E. DobbsMr. and Mrs. Thomas E. DunhamMr. and Mrs. Vincenzo GabrieleMrs. Thelma GaultMr. and Mrs. John S. GreenebaumFrank and Paula HarshawMr. Robert B. HornerDon and Ann KohlerMr. and Mrs. Bill LambMr. and Mrs. Arthur J. LermanGeneral Dillman Rash FundMr. and Mrs. Robert W. Rounsavall, IIIRev. Alfred R. Shands, III

Mr. and Mrs. Joseph E. ShiprekMr. and Mrs. Kevin WardellMr. and Mrs. Joseph Hays WimsattMr. and Dr. Robert WimsattDr. Shiao Y. Woo and John H. Shaw-WooAnonymous

$3,000 - $4,999Conductor’s PatronFrank Abell FundDr. Frederick AlbrinkMrs. Janice Purcell-Basu and Mr. Joy BasuMr. William F. BurbankMs. Laura DouglasMr. and Mrs. Donald FinneyMr. and Mrs. Andrew FleischmanMr. and Mrs. Owen C. HardyMr. and Mrs. Jay D. HarrisMr. and Mrs. Willis W. HobsonMr. Anthony KernMr. and Mrs. John MalloyAndrew Kipe and Norman MorseDr. and Mrs. Joseph E. KutzMr. and Mrs. David LairdMr. and Mrs. Tom PartridgeMr. and Mrs. Norman PfauMr. and Mrs. John SmartWoodrow M. and Florence G. Strickler Fund

$1,500 - $2,999Concertmaster PatronMr. and Mrs. Irving W. Bailey, IIMs. Elizabeth M. BernstromMs. Ruth BrinkleyMrs. Evelyn T. CohnDavid and Cynthia CollierMrs. John G. DietrichMs. Gayle A. DeMerssemanDr. and Mrs. Christopher DoaneMr. and Mrs. William L. Ellison, Jr.Dr. Vilma FabreMr. and Mrs. Randall FoxMr. and Mrs. Erik FurlanMr. and Mrs. John R. GregoryMr. and Mrs. Matthew HamelMrs. Barbara B. HardyDr. Susan J. HerlinMr. Robert E. Kulp, Jr.Mrs. Philip LanierDr. Eugene March and Dr. Lynn Gant MarchMrs. Carolyn MarloweMs. Mary MeansMr. and Mrs. Richard W. MorgenMr. and Mrs. Fred PirmanMrs. David PotterMr. and Mrs. David RayKenneth and Beulah RogersMr. Michael RuddMr. and Mrs. Kenneth L. SalesReverend Edward W. SchadtMr. and Mrs. Robert SteenMr. Edward Stopher

Dr. Gordon D. Strauss and Dr. Catherine Newton

Mr. and Mrs. Michael Von HovenMr. and Mrs. Robert WhayneMrs. Mary Ellen Wiederwohl and Mr. Joel

MorrisAnonymous

$500 - $1,499Player’s PatronDr. and Mrs. James AppleberryDr. and Mrs. Joe F. ArterberryMs. Susan H BakerMr. and Mrs. Thomas H. BartonMs. Lynne BaurMrs. Mary J. BealeMr. and Mrs. William D. BeavenReverend and Mrs. Harlan BeckemeyerMr. and Mrs. John T. BondurantDr. and Mrs. Lawrence H. BoramMr. and Mrs. Steven BrecknerDr. and Mrs. Paul BrinkMr. and Mrs. Gary BuhrowMr. and Mrs. William P. CarrellLindy CasebierJune Allan CreekMr. and Mrs. Gordon B. DavidsonDr. and Mrs. John W. Derr, Jr.Ms. Judith Ann DicksonMr. and Mrs. James M. DoyleMr. and Mrs. George F. DuthieRev. John G. EiflerMrs. Jean W. FrazierDr. Margaret FondaMr. and Mrs. Sheldon G. GilmanMr. Don J. GlaserMs. Mary Louise GormanDr. and Mrs. Laman A. GrayMs. June HampeMr. and Mrs. William HancockMr. and Mrs. Spencer E. Harper, Jr. Mr. Carl HelmichDr. George H. HerbenerDr. Frederick HiltonMr. and Mrs. Paul HollingsworthMr. and Mrs. David HyslopMr. and Mrs. Breck JonesMr. and Mrs. Daniel N. KlinckDr. and Mrs. Forrest. KuhnMr. and Mrs. Karl D. KuiperMr. Michael KusmanbarrMr. and Mrs. Lewis LancasterMrs. Helen LangMr. and Mrs. Samuel M. LevineDr. Daniel McAninchTonya and Steve McSorleyCantor David Lipp and Rabbi Laura MetzgerMs. Julie MortonMr. and Mrs. Ken LoomisMrs. Eileene J. MacFallsMr. and Mrs. Stewart McCombsMrs. Virginia MacKin

The Louisville Orchestra gratefully acknowledges the following donors of record for the period September 30, 2013 through September 30, 2014

Louisville Orchestra Contributors


Mr. and Mrs. Robert MontgomeryMs. June E. MorrisMr. and Mrs. Ronald J. MurphyDr. and Mrs. Alton E. Neurath, Jr.Dr. and Mrs. David H. NeustadtMr. and Mrs. Edwin OlligesMr. and Mrs. Anthony PassafiumeMrs. William P. PeakMs. Kathleen PellegrinoMr. and Mrs. John PohlCharlie and Carol PyeMr. Stephen ReinhardtDr. John RobertsKenneth and Beulah RogersMr. and Mrs. Theodore S. RoskyDr. and Mrs. William M. SchreiberMs. Alleine SchroyensMs. Tamina SinghDr. Arthur J. Slavin and Mrs. Inger J. SlavinDr. Janet L. SmithMrs. Carole SnyderDr. and Mrs. Paul E. TiptonMrs. Rose Mary ToebbeMr. and Mrs. James R. VoylesMr. and Mrs. William W. WeberMr. and Mrs. Orme WilsonMrs. Evelyn C. Wolford

$250 - $499PatronMs. Mary Kay BallardMs. Susan BarryMs. Pamela BlairDr. and Norbert BurzynskiMrs. Kathryn D. ChristophersonMs. Caroline ChristianMs. Faith CirreMr. and Mrs. George F. ColemanMrs. Richard L. ConklinMr. and Mrs. Arthur O. CromerMr. and Mrs. Leonidas D. Deters, Jr.Ms. Susan EllisonMr. Walter FeibesMr. and Mrs. Clyde FosheeMr. Ed GarberMs. Christine GaultDr. and Mrs. Lawrence GettlemanDr. Mary HartyMr. Marc T. HaynesMs. Mi Rye HwangDr. Arthur Isaacs and Ms. Joyce LoeserMs. Margie KommorMr. and Mrs. Alan L. KunkelDr. and Mrs. Allan LansingDr. and Mrs. Leonard LeightMs. Nancy MarnettMs. Joanne MiloschroyMr. Charles MooreMrs. Robert NashDr. Naomi J. OliphantMs. Donna PeakMs. Joan Pike

Mr. and Mrs. Julius E. RaithMr. and Mrs. Robert ReedMr. and Mrs. Mark RichardsonDr. Kay RobertsMs. Eleanor R. RobinsMr. and Mrs. Michael RyanMr. and Mrs. E. Halsey SandfordMr. and Mrs. David C. ScottBrandon and Courtney SchadtCary ShieldsMr. and Mrs. John SinaiMr. and Mrs. Richard E. SmithMr. and Mrs. Donald L. SodrelMr. Richard StephanDr. Gerald F. Sturgeon and Dr. Patricia

SturgeonMrs. & Mr. Kathleen TowsleyMs. Zada WagamanMr. and Mrs. Ronald M. WalfordMs. Patricia WalkerMr. Dennis WalshMr. and Mrs. William Walsh, IIIMr. and Mrs. John H. WelchMs. Maria L. WhittingtonMr. and Mrs. Raleigh K. WilsonMrs. Susan H. WilburnMr. James I. Wimsatt and Ms. Rebecca S.

BealDr. John C. Wright and Dr. Kay RobertsMs. Susan Zepeda and Dr. Fred Seifer

ROBERT S. WHITNEY LEGACY SOCIETYIndividuals who have generouslymade estate plans for the LouisvilleOrchestra.Ms. Doris L. AndersonMr. and Mrs. Stanley L. CrumpMrs. Janet R. DakanWilliam J. EhrigDon J. GlaserAnita Ades GoldinMr. and Mrs. Charles W. Hebel, Jr.Carl E. LangenhopMrs. Philip LanierMr. and Mrs. Arthur J. LermanDr. Naomi J. OliphantMr. Paul R. Paletti, Jr.Rev. Edward W. SchadtEstate of Louise Tachau SchulmanMr. and Mrs. Douglas Summers, Jr.Dr. Peter Tanguay and Margaret Fife TanguayTanguayRose Mary Rommel ToebbeDr. and Mrs. Richard S. WolfAnonymous

MATCHING GIFTSDow Corning for Edward SpragueGeneral Electric for Walter and Maud Baker,

Filomena Farley, Theodore Groene, Diane Aprile Hoosel, Jacquelyn B. Metzler, Richard and Louise Prycha, Mr. and Mrs. K. C.

Reifsteck, J. and Carol Rosenkrans, Kim Shapiro and Gerald Wells

Kindred Healthcare for Ms. Barbara BaylisYUM! Brands, Inc. for Gary and Virginia

Buhrow

COMMUNITY PARTNERSAxxisColonial Designs of St. MatthewsGohmann Asphalt & ConstructionJefferson County Public SchoolsLeap Frog Interactive, Inc.Louisville Public MediaO’Neil Arnold PhotographyPhoenix Lighting and SoundPsi Iota Xi National Sorority, Inc.Psi Iota Xi Sorority, Zeta IotaChapterSCH RealtyStrothman & Company PSCThrifty Car and Truck RentalVincenzo’sVintage PrintingThe Voice-TribuneWDRB Fox 41

FOUNDATION PARTNERSBarr FoundationThe Clifton FoundationIrvin F. and Alice S. Etscorn FoundationFiddlehead FundGheens FoundationParadis FoundationRLR Charitable FoundationLouis T. Roth FoundationLyndon and Helen Schmid Charitable

FoundationArthur K. Smith FamilyFoundationSutherland FoundationWilliam M. Wood FoundationWimsatt Family Foundation

LOUISVILLE ORCHESTRA PARTNERSHIP IN ARTS AND CULTURE 211 Clover LaneCorbett’s: An American PlaceLe RelaisPorcini RestaurantU of L Physicians GroupThe Village AnchorVincenzo’s Italian Restaurant

Music without Borders Oct Program

Documents

Transcript of Music without Borders Oct Program