U p c omin g Mu s ic E v e nts Go to music.emory.edu to view the complete list of upcoming music events. For more information contact the Arts at Emory Box Office at 404.727.5050, or visit arts.emory.edu. Ticket prices are listed in the following order: Full price/Discount category member price/Emory student price (unless otherwise noted as the price for all students). Visit arts.emory.edu to see if you qualify for a discount. music at emory concert series schwartz center for performing arts Saturday, March 15, 8 p.m., Rachmaninoff Vespers, Atlanta Master Chorale, Schwartz Center, $30/$25/$10 Friday, March 21, noon, Beethoven’s 5th Symphony, Emory Chamber Music Society of Atlanta (ECMSA) Noontime Series, Carlos Museum, free Friday, March 21, 8 p.m., Well-Tempered Clavier, University Organist Recital Series, Schwartz Center, free Saturday, March 22, 5 p.m., Carey Xiaoqing, undergraduate piano recital, Schwartz Center, free Sunday, March 23, 2 p.m., Kevin Ma, clarinet, and Melanie Zhang, flute, undergraduate recital, Schwartz Center, free Emory university symphony Orchestra Richard prior, conductor with Yulia Van doren, soprano Donna and Marvin Schwartz Artist in Residence thursday, march 6, 2014, 8:00 p.m. Sunday, March 23, 5 p.m., Benito Thompson, violin, undergraduate recital, Schwartz Center, free Sunday, March 23, 4 p.m., Atlanta’s Young Artists, Emory Chamber Music Society of Atlanta (ECMSA) Family Series, Carlos Museum, free Friday, March 28, 8 p.m., Inon Barnatan, piano and Alisa Weilerstein, cello, Candler Concert Series, Schwartz Center, $40/$32/$5 Saturday, March 29, 5 p.m., Sophia Lu and Yusuke Yamanaka, undergraduate piano recital, Schwartz Center, free Saturday, March 29, 8 p.m., Evan Wichman, graduate choral conducting recital, Schwartz Center, free Tuesday, April 1, 8 p.m., Emory Jazz Combos, Schwartz Center, free Friday, April 4, 8 p.m., Voices & Harps, Moya Brennan and Cormac de Barra, Schwartz Center, $20/$15/$5 Saturday, April 5, 2 p.m., Zhe Maggie Sun, undergraduate composition recital, Schwartz Center, free Saturday, April 5, 5 p.m., Sunny Yue, undergraduate violin recital, Schwartz Center, free Program Change: Due to illness, Isabel Bayrakdarian will not perform this evening as advertised. Yulia Van Doren will be the featured vocalist. Emerson Concert Hall Schwartz Center for Performing Arts 12 Program e mory u ni v e rs ity s y m p h ony orch e s tra CELLO Symphony No. 3 (“Symphony of Sorrowful Songs”), op. 36 (1976) I. Lento; Sostenuto tranquillo ma cantabile II. Lento e Largo; Tranquillissimo III. Lento; Cantabile-semplice Henryk Górecki (1933–2010) Thomas Sandlin • 4 Atlanta, GA Clifford Redwine • H Marietta, GA Min Ah KimDecatur, GA RuQui Chen Sichuan, China Carolyn Ranti Atlanta, GA Joel Lee Memphis, TN Caitlin AndersonDavis, CA Emily Chang Beijing, China James Dickey • H Sugar Hill, GA Kylie Baker Medford, MA Lawrenceville, GA Sean Pack • Ji Hyun Park Oberursel, Germany Atlanta, GA Scott McAfee • Music and European History Music and Psychology Music and Psychology Music and Biology Marcus Autism Center Music and NBB Music Biology Music and Biology Spanish and Chinese Chemistry Business Music and Political Science 09C BASS Shalina Grover • 4 Marietta, GA Finance and Film Timothy BoykinDecatur, GADeKalb Symphony Sam Budnyck 4 u Mary Ester, FL Music and Comparative Literature Elliot SaltmarshDecatur, GA EYSO Scholar Kait McGann-Ludwin Palm City, FL Music Brandon Sibilia Brookfield, WI PhD Political Science Stephan Fraher • Marietta, GA Music and History 12C Richard Lorenc Atlanta, GA International Relations, Chinese, and Russian 06C Jamie Baek Johns Creek, GA Business NBB: Neuroscience and Behavioral Biology • Emory Youth Symphony Orchestra Alumni 4 Deans Music Scholar H Edward Goodwin Scruggs Lesson Scholarship holder u Margery and Robert McKay Scholarship holder J Friends of Music Scholarship holder : Miriam Boykin Scholarship holder 2 11 e m o ry u n i v e r s ity s y mp h ony orch e stra VIOLIN I Sunny Yue • u Tucker, GA Joel M. Felner M.D. Concertmaster Chair Benito Thompson • Snellville, GA Houston, TX Meg Winata u Emily Reinhard • Woodstock, GA Dallas Albritton Tampa, FL Daun Kwag Logan, UT Camilia HeningerDunwoody, GA Sean Chew Orlando, FL Stone Mountain, GA Nimia Maya • H Ariana RahgozarDix Hills, NY Lindsay Fisher Atlanta, GA Kingston, Jamaica Yeonjae (Iris) Lim Yeerin Kwon Rome, GA Henry Hays Boston, MA Melissa Ake • Atlanta, GA Atlanta, GA Justin Moore • H Angel Hsu Kaohsiong, Taiwan Music and Economics Music and Physics Music and Nursing Music and Biomedical Engineering Music and Math Music and Biology Music and Economics 13C Music and Engineering Music and Chemistry Music and Biomedical Engineering Music and Psychology (Wellesley College) Music and BBA International Studies Comparative Literature and Economics Mercer University Music and NBB Biology and Spanish VIOLIN II Kira Snyder Minneapolis, MN Music and Business Edward Goodwin Scruggs Principal Second Chair Caroline Plott Annapolis, MD Music and Biology Joseph Matthews Memphis, TN Music Richard Upton Raleigh, NC Music and Biology 13C Biology Martine van Voorthyusen Peachtree City, GA Nina Newport Arlington, MA Music and Psychology Peter Sangji Lee Maitland, FL Music and Mathematics Loganville, GA Music Michael Crawford H Kathryn Vance Fairfield, CT Music and Accounting Jimmy Chen Portland, OR Computer Science Hayley Snyder Minneapolis, MN English and Art History 12C Cassandra Buru Austin, TX Music and Chemistry Vanessa Fu Lexington, KY Chemistry Banpodong Seochogu, Psychology Soo Young Kim South Korea Joseph Park J Anderson, SC Music and NBB Alexandria, VA Biology Gina Lee David Dvorak Spanish Fort, AL Music and Chemistry VIOLA Rebecca Flank • 4 Lawrenceville, GA Emily Caesar Barrington, RI Cameron Wagner • Roswell, GA Johns Creek, GA Minjee Kim • 4 Peter NgyuenDecatur, GA Columbus, GA Nicholas Singletary H Ci Ci Li Seattle, WA Scarsdale, NY Caroline Holmes H Carolyn Sharzer Los Alamitos, CA Naples, FL Kara Goldstone H Bogart, GA Wrenica Archibald H Priyanka Pai Solon, OH Madeline Drace Portola Valley, CA Meg Granum Atlanta, GA Music and Renaissance/Medieval Studies Music Psychology and Spanish Music and Business Music and Creative Writing 10C Music and NBB Human Biology and Anthropology Physics and Biology Anthropology/Human Biology and Spanish Music and Biology International Studies and Spanish Music and Economics English and Art History MM Choral Conducting 12C 10 p rogram not e s Symphony No. 3 (“Symphony of Sorrowful Songs”), op. 36 (1976) Polish composer Henryk Górecki’s most famous work is his 1976 Symphony No. 3, subtitled “Symphony of Sorrowful Songs.” Górecki composed the Symphony in Katowice between the months of October and December 1976. The Górecki Symphony No. 3, dedicated to the composer’s wife, received its world premiere on April 4, 1977, at the avant-garde Festival of Royan. Contemporary music advocate Ernest Bour led the ensemble that originally commissioned the piece—the Symphony Orchestra of South West German Radio, Baden-Baden. The Symphony No. 3 reflects Górecki’s lifelong devotion to the music and poetry of both his native land and of the Roman Catholic Church. The Symphony No. 3 is in three movements, each providing a musical setting of a specific Polish text. The first movement features the fifteenth-century Polish Lamentation of the Holy Cross Monastery, in which the mother of Christ speaks to her dying son. The text of the second movement is taken from a prayer by an eighteen-year-old Polish girl, written on the wall of a Gestapo cell in Zakopane. The final movement is a folksong from the Opole region, in which a mother mourns the death of her son and prays that he will find peace. The preface to the score contains the following explanation of the subtitle of Górecki’s Symphony No. 3: The subtitle “Symfonia pieś ni ż ałosnych” has suffered much in translation. “Pieś ni” is simply “songs;” but the qualifying “ż ałosnych” is archaic, and more comprehensive than its modern English, German, or French equivalents. It comprises not only the sense of both the wordless “song” of the opening double basses and the monastic lament which follows, but also the prayer and exhortation (“Do not weep”) of the Zakopane graffito, and the lullaby, both elegiac and redemptive, of the final folksong. Renderings such as “Lamentation Songs” or “Klagelieder” (with their overtones of Jeremiah or Gustav Mahler) are thus even more misleading than the alternative of “Sorrowful Songs.” After its 1977 premiere, the Górecki Symphony No. 3 emerged as one of the most popular of contemporary classical works, receiving numerous performances throughout the world. A 1992 Elektra/Nonesuch recording by soprano Dawn Upshaw, conductor David Zinman, and the London Sinfonietta is one of the most successful classical discs of all time. Almost forty years after the premiere of Górecki’s “Symphony of Sorrowful Songs,” the work’s powerful, direct and accessible mode of heartfelt expression continues to resonate with a broad range of audiences. 3 e mory u ni v e rs ity s y m p h ony orch e s tra Musical Analysis I. Lento; Sostenuto tranquillo ma cantabile—The spacious opening movement constitutes approximately one-half of the entire Górecki Symphony No. 3. The double-basses introduce a melancholy theme that forms the basis for an extended canon for strings. The music continues to gain intensity as the cellos, violas, second, and first violins enter. At the center of the movement, the singer, accompanied by the full orchestra, intones the fifteenth-century Lamentation of the Holy Cross Monastery. At the conclusion of the Lamentation, the string canon returns, ultimately fading to silence. The Joel M. Felner, MD, and Edward Goodwin Scruggs Chairs The two named chairs, concertmaster and principal second violin, are in recognition of gifts-in-kind to the Emory University Symphony Orchestra in the value of $317,000. Joel M. Felner is associate dean at the Emory University School of Medicine; Edward Goodwin Scruggs was for thirty-seven years a tenured member of the Atlanta Symphony Orchestra. The lives of both men represent distinguished careers and great philanthropy as patrons of the arts and friends of Emory University. The concertmaster plays a 1687 Grancino and the principal second performs on an 1870 Scarampella. II. Lento e Largo; Tranquillissimo—A brief orchestral introduction precedes the tragic prayer of the eighteen-year-old Polish girl held prisoner by the Gestapo. A short orchestral postlude concludes the second movement. FLUTE and PICCOLO III. Lento; Cantabile-semplice—The final movement opens with a repeated motif in the strings, punctuated by interjections from the harp and piano. The singer soon enters with a plaintive Opole folksong. In the final verse (“Oh, sing for him God’s little songbirds”), the transformation of the mother’s despair to hope is portrayed by a radiant modulation to A Major. A brief reprise of a portion of the opening verse (“Ah, you bad people”) is followed by a peaceful orchestral conclusion. —Program notes by Ken Meltzer “Symphony of Sorrowful Songs”—Texts and Translations I. Lento; Sostenuto tranquillo ma cantabile Synku miły i wybrany. Rozdziel z matką swoje rany; A wszakom cię, synku miły, w swem sercu nosiła. A takież tobie wiernie służ yła. Przemow k matce, bych się ucieszyła, Bo już jidziesz ode mnie, moja nadzieja miła. My son, my chosen and beloved, Share your wounds with you mother; And because, dear son, I have always carried you in my heart And always served you faithfully, Speak to your mother, to make her happy, Although you are already leaving me, my cherished hope. (Lamentation of the Holy Cross Monastery from the “Lysagóra Songs” collection. Second half of the fifteenth century) Warren Ma u Melanie Zhang Geoffrey Welch Rosemary Lee Marietta, GA Morganton, WV Wetumpka, AL Seoul, Korea Business and Computer Science Music and NBB Music and Biology Economics and International Studies Atlanta, GA Marietta, GA Tucker, GA Johns Creek Music Music and Chemistry Music and Biology Music and Biology Boca Raton, FL Tuscon, AZ NBB Music and NBB Menehem, NJ Music and Political Science CLARINET Tyler Cooke • Kevin Ma • Vijay Balakrishnan Justin Kim BASSOON Jason Lee Hayley McCausland CONTRABASSOON James Cahill HORN Alex Lutz • Atlanta, GA Michelle Paine Wilmette, IL David Pickworth Naples, FL Kevin Sullivan • 4 Marietta, GA Music and Math/Computer Science Anthropology/ Human Biology and Human Health Music 99C Music TROMBONE Jared Slaff • Atlanta, GA Parker Ellison Monroe, GA Matthew LipowDowningtown, PA BM, Indiana University Music and Psychology Undeclared BASS TROMBONE Alex Lopez Fayettville, GA Sociology and Linguistics Foshan, China Music and Finance Atlanta GA Homeschool piano Carey Shi harp Amanda Melton 4 9 The Atlanta Symphony Orchestra (ASO) commissioned and premiered . . . of shadow and light . . . (incantations for orchestra) in October 2013. Subsequent critical reviews called the work “stunning” and “jubilant and exuberant;” the piece identified Prior as “perhaps the most gifted of the Atlanta composers” citing his mastery of orchestration, lyricism, and musical drama. A winner of numerous institutional awards for his compositions and teaching, Prior won the 2008 Harvey Philips Award for Excellence in Composition at the Cincinnati Conservatory of Music and was the recipient in 2009 of Emory University’s Winship Senior Faculty Award and the 2011 Crystal Apple Award for Excellence in Undergraduate Education. His choral-orchestral work hymn for nations united received Awards of Merit in two categories (Symphonic Music and Composition) in this year’s Global Music Awards. Current projects include a second string quartet for the Vega String Quartet, a double timpani concerto, a viola concerto for prodigy Stephen Upshaw, and just announced, a concerto for internationally acclaimed cellist, Matt Haimovitz. Mu s ic at E mo ry The Department of Music at Emory University provides an exciting and innovative environment for developing knowledge and skills as a performer, composer, and scholar. Led by a faculty of more than sixty nationally and internationally recognized artists and researchers, our undergraduate and graduate students experience a rich diversity of performance and academic opportunities. Undergraduate students in our department earn a BA in music with a specialization in performance, composition, or research, many of whom simultaneously earn a second degree in another department. True to the spirit of Emory, a liberal arts college in the heart of a research university, our faculty and ensembles also welcome the participation of non-major students from across the Emory campus. Become a part of Music at Emory by giving to the Friends of Music. Your gift provides crucial support to all of our activities. To learn more, visit our website at music.emory.edu or call 404.727.6280. II. Lento e largo; Tranquillissimo Mamo, nie płacz, nie. Niebios Przeczysta Królowo. Ty zawsze wspieraj mnie. Zdrowaś Mario. No, Mother, do not weep. Most chaste Queen of Heaven Support me always. “Zdrowaś Mario.”* (Prayer inscribed on wall three of cell number three in the basement of “Palace,”,the Gestapo’s headquarters in Zakopane; beneath is the signature of Helena Wanda Błaż usiakówna, and the words “18 years old, imprisoned since 25 September 1944.”) * “Zdrowaś Mario” (Ave Maria)—the opening of the Polish prayer to the Holy Mother III. Lento; Cantabile-semplice Kajze mi sie podzioł mój synocek miły? Pewnie go w powstaniu złe wrogi zabiły. Wy niedobrzy ludzie, dlo Boga ś wię tego cemuś cie zabili synocka mojego? Where has he gone My dearest son? Perhaps during the uprising The cruel enemy killed him Ah, you bad people In the name of God, the most Holy, Tell me, why did you kill My son? Zodnej jo podpory juz nie byda miała, choć bych moje stare ocy wypłakała. Choć by z mych łez gorzkich drugo Odra była, jesce by synocka mi nie ozywiła. Never again Will I have his support Even if I cry My old eyes out. Were my bitter tears to create another River Oder They would not restore to life My son. Lezy on tam w grobie, a jo nie wiem kandy, choć sie opytuja mię dzy ludzmi wsandy. Moze nieborocek lezy kaj w dołecku. a mógłby se lygać na swoim przypiecku. He lies in his grave and I know not where Though I keep asking people Everywhere. Perhaps the poor child Lies in a rough ditch and instead he could have been lying in his warm bed. Ej, ć wierkejcie mu tam, wy ptosecki boze, kiedy mamulicka znalezć go nie moze. A ty, boze kwiecie, kwitnijze w około, niech sie synockowi choć lezy wesoło. Oh, sing for him God’s little song-birds Since his mother Cannot find him. And you, God’s little flowers, May you blossom all around So that my son May sleep happily. (Folksong in the dialect of the Opole region) © Copyright 1977 by PWM Edition, Krakow, Poland Transferred 1998 to Chester Music Limited United States renewal rights assigned to Boosey & Hawkes Inc. English translation by Krystyna Carter © Copyright 1992 by Boosey & Hawkes Music Publishers Ltd. 8 5 Yu l ia Va n Dor en Hailed as “a hugely appealing, obviously important talent” (Philadelphia Inquirer) the young Russian-American soprano Yulia Van Doren is increasingly sought after for her ability to tackle the most demanding and varied repertoire. In recent seasons, she made her Los Angeles Philharmonic debut in Shostakovich’s Orango; sang St. Theresa in Virgil Thomson’s Four Saints in Three Acts with the Mark Morris Dance Group; performed Nielsen’s Symphony No. 3 with the American Symphony Orchestra at the Bard Festival; and sang Handel’s Messiah with the Houston Symphony and Bach’s B Minor Mass with Music of the Baroque. Recent opera performances include Dorinda in Handel’s Orlando at the Mostly Mozart, Ravinia, and Tanglewood Festivals with Philharmonia Baroque; Galatea in Handel’s Acis and Galatea at the Macau International Music Festival; Mereo in Scarlatti’s Tigrane for Opéra de Nice, and Betsy in Monsigny’s Le Roi et le Fermier, with Opera Lafayette, at the Kennedy Center, Lincoln Center, and Opéra Royal de Versailles (recorded for Naxos). Highlights of her 2012-2013 season included appearances at the Kennedy Center (Actéon with Opera Lafayette); Music of the Baroque (St. John Passion with Jane Glover); Phoenix Symphony (Messiah with Michael Christie); and Bard Music Festival (recital with Kent Tritle). She traveled twice to the Netherlands for performances with the Radio Kamer Filharmonie, including her Concertgebouw debut in broadcast performances as the title role in Handel’s Acis and Galatea. Acclaimed symphonic debuts that season included the Toronto Symphony (Messiah), Baltimore Symphony (Messiah), Milwaukee Symphony (Pergolesi and Handel), and Albany Symphony (Bach Magnificat). Van Doren earned an undergraduate degree at the New England Conservatory, and a master’s degree from Bard College, and is a recipient of numerous scholarships, including the prestigious Soros Fellowship for New Americans and a Frank Huntington Beebe Grant for Advanced European Study. She was a winner of Astral Artists’ 2009 National Auditions. D o n na an d M ar v in S chwartz A rt i s ts in Res iden c e Program This year we are pleased to announce the establishment of the Donna and Marvin Schwartz Artists in Residence Program. This program is made possible by a generous gift from Donna and Marvin Schwartz. Their donation will allow performing artists, composers, and arts scholars from around the world to come to the Schwartz Center for extended periods to participate in outreach activities such as masterclasses, lectures, panels, demonstrations, workshops, and performances for the benefit of the Emory and Atlanta communities. 6 Emory Uni v e rs ity S y m p h ony O rch e s tra The Emory University Symphony Orchestra (EUSO) experience provides a musical environment of the highest caliber, nurturing individual artistic excellence and ensemble performance. The EUSO presents a varied repertoire of music from the Baroque period to the twenty-first century, often combining forces with the Emory choirs to feature masterworks of the rich symphonicchoral tradition. The one hundred–member orchestra draws its membership from all disciplines across the campus and from all divisions of the university. Richard Prior, conductor Award-winning conductor and composer, Richard Prior is senior lecturer in composition and also director of orchestral studies at Emory University where he holds the Edward Goodwin Scruggs Chair and conducts the Emory University and Youth Symphony orchestras. Prior is also conductor of the Rome Symphony Orchestra (Georgia) where he holds the Georgia Power Conducting Chair. Prior’s musical training began in his native England, where he received degrees in both composition and conducting from Leeds and Nottingham Universities. He has taught at several universities and colleges in the United States and at St. Catherine’s College, Oxford University where he was the 1997 visiting fellow in music. In demand as a guest conductor and clinician, Prior has led numerous honor and all-state orchestras and a variety of professional consortiums from the New York Philharmonic, Chicago Symphony, Atlanta Symphony, and Minnesota Orchestra. He has appeared with the Charlotte Symphony, the New Orleans Civic Symphony, the Rome Symphony Orchestra, and the National Symphony of Ukraine, the Odessa Philharmonic. He has been reviewed in the press as having “stirring conviction,” “precision,” and “stylishness and flexibility,” with the “meteoric rise” of ensembles under his direction. Prior’s principal teachers include Sir Simon Rattle and James Paul. Prior is a founding member and past president of the College Orchestra Directors Association, South Central Division; he serves on the Atlanta Regional Commission’s Arts and Culture Assessment Committee. From music written as a high school student performed in the presence of Queen Elizabeth II to his professional debut in 1988 at London’s Westminster Abbey, Prior’s music has been performed, recorded, and broadcast widely in Europe and North America. Atlanta performances have included intimations of immortality premiered by the Vega String Quartet, The Darkening Land with clarinet virtuoso Richard Stoltzman, and the Pulitzer-nominated choralorchestral work Stabat Mater, the subject of a 2009 PBS broadcast. Prior’s Symphony No. 3 received its premiere at Emory in 2011 and his elegy for aurora dedicated to the memory of those lost in the tragedy in Aurora, Colorado, received multiple performances in 2012 and 2013. 7 Yu l ia Va n Dor en Hailed as “a hugely appealing, obviously important talent” (Philadelphia Inquirer) the young Russian-American soprano Yulia Van Doren is increasingly sought after for her ability to tackle the most demanding and varied repertoire. In recent seasons, she made her Los Angeles Philharmonic debut in Shostakovich’s Orango; sang St. Theresa in Virgil Thomson’s Four Saints in Three Acts with the Mark Morris Dance Group; performed Nielsen’s Symphony No. 3 with the American Symphony Orchestra at the Bard Festival; and sang Handel’s Messiah with the Houston Symphony and Bach’s B Minor Mass with Music of the Baroque. Recent opera performances include Dorinda in Handel’s Orlando at the Mostly Mozart, Ravinia, and Tanglewood Festivals with Philharmonia Baroque; Galatea in Handel’s Acis and Galatea at the Macau International Music Festival; Mereo in Scarlatti’s Tigrane for Opéra de Nice, and Betsy in Monsigny’s Le Roi et le Fermier, with Opera Lafayette, at the Kennedy Center, Lincoln Center, and Opéra Royal de Versailles (recorded for Naxos). Highlights of her 2012-2013 season included appearances at the Kennedy Center (Actéon with Opera Lafayette); Music of the Baroque (St. John Passion with Jane Glover); Phoenix Symphony (Messiah with Michael Christie); and Bard Music Festival (recital with Kent Tritle). She traveled twice to the Netherlands for performances with the Radio Kamer Filharmonie, including her Concertgebouw debut in broadcast performances as the title role in Handel’s Acis and Galatea. Acclaimed symphonic debuts that season included the Toronto Symphony (Messiah), Baltimore Symphony (Messiah), Milwaukee Symphony (Pergolesi and Handel), and Albany Symphony (Bach Magnificat). Van Doren earned an undergraduate degree at the New England Conservatory, and a master’s degree from Bard College, and is a recipient of numerous scholarships, including the prestigious Soros Fellowship for New Americans and a Frank Huntington Beebe Grant for Advanced European Study. She was a winner of Astral Artists’ 2009 National Auditions. D o n na an d M ar v in S chwartz A rt i s ts in Res iden c e Program This year we are pleased to announce the establishment of the Donna and Marvin Schwartz Artists in Residence Program. This program is made possible by a generous gift from Donna and Marvin Schwartz. Their donation will allow performing artists, composers, and arts scholars from around the world to come to the Schwartz Center for extended periods to participate in outreach activities such as masterclasses, lectures, panels, demonstrations, workshops, and performances for the benefit of the Emory and Atlanta communities. 6 Emory Uni v e rs ity S y m p h ony O rch e s tra The Emory University Symphony Orchestra (EUSO) experience provides a musical environment of the highest caliber, nurturing individual artistic excellence and ensemble performance. The EUSO presents a varied repertoire of music from the Baroque period to the twenty-first century, often combining forces with the Emory choirs to feature masterworks of the rich symphonicchoral tradition. The one hundred–member orchestra draws its membership from all disciplines across the campus and from all divisions of the university. Richard Prior, conductor Award-winning conductor and composer, Richard Prior is senior lecturer in composition and also director of orchestral studies at Emory University where he holds the Edward Goodwin Scruggs Chair and conducts the Emory University and Youth Symphony orchestras. Prior is also conductor of the Rome Symphony Orchestra (Georgia) where he holds the Georgia Power Conducting Chair. Prior’s musical training began in his native England, where he received degrees in both composition and conducting from Leeds and Nottingham Universities. He has taught at several universities and colleges in the United States and at St. Catherine’s College, Oxford University where he was the 1997 visiting fellow in music. In demand as a guest conductor and clinician, Prior has led numerous honor and all-state orchestras and a variety of professional consortiums from the New York Philharmonic, Chicago Symphony, Atlanta Symphony, and Minnesota Orchestra. He has appeared with the Charlotte Symphony, the New Orleans Civic Symphony, the Rome Symphony Orchestra, and the National Symphony of Ukraine, the Odessa Philharmonic. He has been reviewed in the press as having “stirring conviction,” “precision,” and “stylishness and flexibility,” with the “meteoric rise” of ensembles under his direction. Prior’s principal teachers include Sir Simon Rattle and James Paul. Prior is a founding member and past president of the College Orchestra Directors Association, South Central Division; he serves on the Atlanta Regional Commission’s Arts and Culture Assessment Committee. From music written as a high school student performed in the presence of Queen Elizabeth II to his professional debut in 1988 at London’s Westminster Abbey, Prior’s music has been performed, recorded, and broadcast widely in Europe and North America. Atlanta performances have included intimations of immortality premiered by the Vega String Quartet, The Darkening Land with clarinet virtuoso Richard Stoltzman, and the Pulitzer-nominated choralorchestral work Stabat Mater, the subject of a 2009 PBS broadcast. Prior’s Symphony No. 3 received its premiere at Emory in 2011 and his elegy for aurora dedicated to the memory of those lost in the tragedy in Aurora, Colorado, received multiple performances in 2012 and 2013. 7 The Atlanta Symphony Orchestra (ASO) commissioned and premiered . . . of shadow and light . . . (incantations for orchestra) in October 2013. Subsequent critical reviews called the work “stunning” and “jubilant and exuberant;” the piece identified Prior as “perhaps the most gifted of the Atlanta composers” citing his mastery of orchestration, lyricism, and musical drama. A winner of numerous institutional awards for his compositions and teaching, Prior won the 2008 Harvey Philips Award for Excellence in Composition at the Cincinnati Conservatory of Music and was the recipient in 2009 of Emory University’s Winship Senior Faculty Award and the 2011 Crystal Apple Award for Excellence in Undergraduate Education. His choral-orchestral work hymn for nations united received Awards of Merit in two categories (Symphonic Music and Composition) in this year’s Global Music Awards. Current projects include a second string quartet for the Vega String Quartet, a double timpani concerto, a viola concerto for prodigy Stephen Upshaw, and just announced, a concerto for internationally acclaimed cellist, Matt Haimovitz. Mu s ic at E mo ry The Department of Music at Emory University provides an exciting and innovative environment for developing knowledge and skills as a performer, composer, and scholar. Led by a faculty of more than sixty nationally and internationally recognized artists and researchers, our undergraduate and graduate students experience a rich diversity of performance and academic opportunities. Undergraduate students in our department earn a BA in music with a specialization in performance, composition, or research, many of whom simultaneously earn a second degree in another department. True to the spirit of Emory, a liberal arts college in the heart of a research university, our faculty and ensembles also welcome the participation of non-major students from across the Emory campus. Become a part of Music at Emory by giving to the Friends of Music. Your gift provides crucial support to all of our activities. To learn more, visit our website at music.emory.edu or call 404.727.6280. II. Lento e largo; Tranquillissimo Mamo, nie płacz, nie. Niebios Przeczysta Królowo. Ty zawsze wspieraj mnie. Zdrowaś Mario. No, Mother, do not weep. Most chaste Queen of Heaven Support me always. “Zdrowaś Mario.”* (Prayer inscribed on wall three of cell number three in the basement of “Palace,”,the Gestapo’s headquarters in Zakopane; beneath is the signature of Helena Wanda Błaż usiakówna, and the words “18 years old, imprisoned since 25 September 1944.”) * “Zdrowaś Mario” (Ave Maria)—the opening of the Polish prayer to the Holy Mother III. Lento; Cantabile-semplice Kajze mi sie podzioł mój synocek miły? Pewnie go w powstaniu złe wrogi zabiły. Wy niedobrzy ludzie, dlo Boga ś wię tego cemuś cie zabili synocka mojego? Where has he gone My dearest son? Perhaps during the uprising The cruel enemy killed him Ah, you bad people In the name of God, the most Holy, Tell me, why did you kill My son? Zodnej jo podpory juz nie byda miała, choć bych moje stare ocy wypłakała. Choć by z mych łez gorzkich drugo Odra była, jesce by synocka mi nie ozywiła. Never again Will I have his support Even if I cry My old eyes out. Were my bitter tears to create another River Oder They would not restore to life My son. Lezy on tam w grobie, a jo nie wiem kandy, choć sie opytuja mię dzy ludzmi wsandy. Moze nieborocek lezy kaj w dołecku. a mógłby se lygać na swoim przypiecku. He lies in his grave and I know not where Though I keep asking people Everywhere. Perhaps the poor child Lies in a rough ditch and instead he could have been lying in his warm bed. Ej, ć wierkejcie mu tam, wy ptosecki boze, kiedy mamulicka znalezć go nie moze. A ty, boze kwiecie, kwitnijze w około, niech sie synockowi choć lezy wesoło. Oh, sing for him God’s little song-birds Since his mother Cannot find him. And you, God’s little flowers, May you blossom all around So that my son May sleep happily. (Folksong in the dialect of the Opole region) © Copyright 1977 by PWM Edition, Krakow, Poland Transferred 1998 to Chester Music Limited United States renewal rights assigned to Boosey & Hawkes Inc. English translation by Krystyna Carter © Copyright 1992 by Boosey & Hawkes Music Publishers Ltd. 8 5 e mory u ni v e rs ity s y m p h ony orch e s tra Musical Analysis I. Lento; Sostenuto tranquillo ma cantabile—The spacious opening movement constitutes approximately one-half of the entire Górecki Symphony No. 3. The double-basses introduce a melancholy theme that forms the basis for an extended canon for strings. The music continues to gain intensity as the cellos, violas, second, and first violins enter. At the center of the movement, the singer, accompanied by the full orchestra, intones the fifteenth-century Lamentation of the Holy Cross Monastery. At the conclusion of the Lamentation, the string canon returns, ultimately fading to silence. The Joel M. Felner, MD, and Edward Goodwin Scruggs Chairs The two named chairs, concertmaster and principal second violin, are in recognition of gifts-in-kind to the Emory University Symphony Orchestra in the value of $317,000. Joel M. Felner is associate dean at the Emory University School of Medicine; Edward Goodwin Scruggs was for thirty-seven years a tenured member of the Atlanta Symphony Orchestra. The lives of both men represent distinguished careers and great philanthropy as patrons of the arts and friends of Emory University. The concertmaster plays a 1687 Grancino and the principal second performs on an 1870 Scarampella. II. Lento e Largo; Tranquillissimo—A brief orchestral introduction precedes the tragic prayer of the eighteen-year-old Polish girl held prisoner by the Gestapo. A short orchestral postlude concludes the second movement. FLUTE and PICCOLO III. Lento; Cantabile-semplice—The final movement opens with a repeated motif in the strings, punctuated by interjections from the harp and piano. The singer soon enters with a plaintive Opole folksong. In the final verse (“Oh, sing for him God’s little songbirds”), the transformation of the mother’s despair to hope is portrayed by a radiant modulation to A Major. A brief reprise of a portion of the opening verse (“Ah, you bad people”) is followed by a peaceful orchestral conclusion. —Program notes by Ken Meltzer “Symphony of Sorrowful Songs”—Texts and Translations I. Lento; Sostenuto tranquillo ma cantabile Synku miły i wybrany. Rozdziel z matką swoje rany; A wszakom cię, synku miły, w swem sercu nosiła. A takież tobie wiernie służ yła. Przemow k matce, bych się ucieszyła, Bo już jidziesz ode mnie, moja nadzieja miła. My son, my chosen and beloved, Share your wounds with you mother; And because, dear son, I have always carried you in my heart And always served you faithfully, Speak to your mother, to make her happy, Although you are already leaving me, my cherished hope. (Lamentation of the Holy Cross Monastery from the “Lysagóra Songs” collection. Second half of the fifteenth century) Warren Ma u Melanie Zhang Geoffrey Welch Rosemary Lee Marietta, GA Morganton, WV Wetumpka, AL Seoul, Korea Business and Computer Science Music and NBB Music and Biology Economics and International Studies Atlanta, GA Marietta, GA Tucker, GA Johns Creek Music Music and Chemistry Music and Biology Music and Biology Boca Raton, FL Tuscon, AZ NBB Music and NBB Menehem, NJ Music and Political Science CLARINET Tyler Cooke • Kevin Ma • Vijay Balakrishnan Justin Kim BASSOON Jason Lee Hayley McCausland CONTRABASSOON James Cahill HORN Alex Lutz • Atlanta, GA Michelle Paine Wilmette, IL David Pickworth Naples, FL Kevin Sullivan • 4 Marietta, GA Music and Math/Computer Science Anthropology/ Human Biology and Human Health Music 99C Music TROMBONE Jared Slaff • Atlanta, GA Parker Ellison Monroe, GA Matthew LipowDowningtown, PA BM, Indiana University Music and Psychology Undeclared BASS TROMBONE Alex Lopez Fayettville, GA Sociology and Linguistics Foshan, China Music and Finance Atlanta GA Homeschool piano Carey Shi harp Amanda Melton 4 9 e m o ry u n i v e r s ity s y mp h ony orch e stra VIOLIN I Sunny Yue • u Tucker, GA Joel M. Felner M.D. Concertmaster Chair Benito Thompson • Snellville, GA Houston, TX Meg Winata u Emily Reinhard • Woodstock, GA Dallas Albritton Tampa, FL Daun Kwag Logan, UT Camilia HeningerDunwoody, GA Sean Chew Orlando, FL Stone Mountain, GA Nimia Maya • H Ariana RahgozarDix Hills, NY Lindsay Fisher Atlanta, GA Kingston, Jamaica Yeonjae (Iris) Lim Yeerin Kwon Rome, GA Henry Hays Boston, MA Melissa Ake • Atlanta, GA Atlanta, GA Justin Moore • H Angel Hsu Kaohsiong, Taiwan Music and Economics Music and Physics Music and Nursing Music and Biomedical Engineering Music and Math Music and Biology Music and Economics 13C Music and Engineering Music and Chemistry Music and Biomedical Engineering Music and Psychology (Wellesley College) Music and BBA International Studies Comparative Literature and Economics Mercer University Music and NBB Biology and Spanish VIOLIN II Kira Snyder Minneapolis, MN Music and Business Edward Goodwin Scruggs Principal Second Chair Caroline Plott Annapolis, MD Music and Biology Joseph Matthews Memphis, TN Music Richard Upton Raleigh, NC Music and Biology 13C Biology Martine van Voorthyusen Peachtree City, GA Nina Newport Arlington, MA Music and Psychology Peter Sangji Lee Maitland, FL Music and Mathematics Loganville, GA Music Michael Crawford H Kathryn Vance Fairfield, CT Music and Accounting Jimmy Chen Portland, OR Computer Science Hayley Snyder Minneapolis, MN English and Art History 12C Cassandra Buru Austin, TX Music and Chemistry Vanessa Fu Lexington, KY Chemistry Banpodong Seochogu, Psychology Soo Young Kim South Korea Joseph Park J Anderson, SC Music and NBB Alexandria, VA Biology Gina Lee David Dvorak Spanish Fort, AL Music and Chemistry VIOLA Rebecca Flank • 4 Lawrenceville, GA Emily Caesar Barrington, RI Cameron Wagner • Roswell, GA Johns Creek, GA Minjee Kim • 4 Peter NgyuenDecatur, GA Columbus, GA Nicholas Singletary H Ci Ci Li Seattle, WA Scarsdale, NY Caroline Holmes H Carolyn Sharzer Los Alamitos, CA Naples, FL Kara Goldstone H Bogart, GA Wrenica Archibald H Priyanka Pai Solon, OH Madeline Drace Portola Valley, CA Meg Granum Atlanta, GA Music and Renaissance/Medieval Studies Music Psychology and Spanish Music and Business Music and Creative Writing 10C Music and NBB Human Biology and Anthropology Physics and Biology Anthropology/Human Biology and Spanish Music and Biology International Studies and Spanish Music and Economics English and Art History MM Choral Conducting 12C 10 p rogram not e s Symphony No. 3 (“Symphony of Sorrowful Songs”), op. 36 (1976) Polish composer Henryk Górecki’s most famous work is his 1976 Symphony No. 3, subtitled “Symphony of Sorrowful Songs.” Górecki composed the Symphony in Katowice between the months of October and December 1976. The Górecki Symphony No. 3, dedicated to the composer’s wife, received its world premiere on April 4, 1977, at the avant-garde Festival of Royan. Contemporary music advocate Ernest Bour led the ensemble that originally commissioned the piece—the Symphony Orchestra of South West German Radio, Baden-Baden. The Symphony No. 3 reflects Górecki’s lifelong devotion to the music and poetry of both his native land and of the Roman Catholic Church. The Symphony No. 3 is in three movements, each providing a musical setting of a specific Polish text. The first movement features the fifteenth-century Polish Lamentation of the Holy Cross Monastery, in which the mother of Christ speaks to her dying son. The text of the second movement is taken from a prayer by an eighteen-year-old Polish girl, written on the wall of a Gestapo cell in Zakopane. The final movement is a folksong from the Opole region, in which a mother mourns the death of her son and prays that he will find peace. The preface to the score contains the following explanation of the subtitle of Górecki’s Symphony No. 3: The subtitle “Symfonia pieś ni ż ałosnych” has suffered much in translation. “Pieś ni” is simply “songs;” but the qualifying “ż ałosnych” is archaic, and more comprehensive than its modern English, German, or French equivalents. It comprises not only the sense of both the wordless “song” of the opening double basses and the monastic lament which follows, but also the prayer and exhortation (“Do not weep”) of the Zakopane graffito, and the lullaby, both elegiac and redemptive, of the final folksong. Renderings such as “Lamentation Songs” or “Klagelieder” (with their overtones of Jeremiah or Gustav Mahler) are thus even more misleading than the alternative of “Sorrowful Songs.” After its 1977 premiere, the Górecki Symphony No. 3 emerged as one of the most popular of contemporary classical works, receiving numerous performances throughout the world. A 1992 Elektra/Nonesuch recording by soprano Dawn Upshaw, conductor David Zinman, and the London Sinfonietta is one of the most successful classical discs of all time. Almost forty years after the premiere of Górecki’s “Symphony of Sorrowful Songs,” the work’s powerful, direct and accessible mode of heartfelt expression continues to resonate with a broad range of audiences. 3 Program e mory u ni v e rs ity s y m p h ony orch e s tra CELLO Symphony No. 3 (“Symphony of Sorrowful Songs”), op. 36 (1976) I. Lento; Sostenuto tranquillo ma cantabile II. Lento e Largo; Tranquillissimo III. Lento; Cantabile-semplice Henryk Górecki (1933–2010) Thomas Sandlin • 4 Atlanta, GA Clifford Redwine • H Marietta, GA Min Ah KimDecatur, GA RuQui Chen Sichuan, China Carolyn Ranti Atlanta, GA Joel Lee Memphis, TN Caitlin AndersonDavis, CA Emily Chang Beijing, China James Dickey • H Sugar Hill, GA Kylie Baker Medford, MA Lawrenceville, GA Sean Pack • Ji Hyun Park Oberursel, Germany Atlanta, GA Scott McAfee • Music and European History Music and Psychology Music and Psychology Music and Biology Marcus Autism Center Music and NBB Music Biology Music and Biology Spanish and Chinese Chemistry Business Music and Political Science 09C BASS Shalina Grover • 4 Marietta, GA Finance and Film Timothy BoykinDecatur, GADeKalb Symphony Sam Budnyck 4 u Mary Ester, FL Music and Comparative Literature Elliot SaltmarshDecatur, GA EYSO Scholar Kait McGann-Ludwin Palm City, FL Music Brandon Sibilia Brookfield, WI PhD Political Science Stephan Fraher • Marietta, GA Music and History 12C Richard Lorenc Atlanta, GA International Relations, Chinese, and Russian 06C Jamie Baek Johns Creek, GA Business NBB: Neuroscience and Behavioral Biology • Emory Youth Symphony Orchestra Alumni 4 Deans Music Scholar H Edward Goodwin Scruggs Lesson Scholarship holder u Margery and Robert McKay Scholarship holder J Friends of Music Scholarship holder : Miriam Boykin Scholarship holder 2 11 U p c omin g Mu s ic E v e nts Go to music.emory.edu to view the complete list of upcoming music events. For more information contact the Arts at Emory Box Office at 404.727.5050, or visit arts.emory.edu. Ticket prices are listed in the following order: Full price/Discount category member price/Emory student price (unless otherwise noted as the price for all students). Visit arts.emory.edu to see if you qualify for a discount. music at emory concert series schwartz center for performing arts Saturday, March 15, 8 p.m., Rachmaninoff Vespers, Atlanta Master Chorale, Schwartz Center, $30/$25/$10 Friday, March 21, noon, Beethoven’s 5th Symphony, Emory Chamber Music Society of Atlanta (ECMSA) Noontime Series, Carlos Museum, free Friday, March 21, 8 p.m., Well-Tempered Clavier, University Organist Recital Series, Schwartz Center, free Saturday, March 22, 5 p.m., Carey Xiaoqing, undergraduate piano recital, Schwartz Center, free Sunday, March 23, 2 p.m., Kevin Ma, clarinet, and Melanie Zhang, flute, undergraduate recital, Schwartz Center, free Emory university symphony Orchestra Richard prior, conductor with Yulia Van doren, soprano Donna and Marvin Schwartz Artist in Residence thursday, march 6, 2014, 8:00 p.m. Sunday, March 23, 5 p.m., Benito Thompson, violin, undergraduate recital, Schwartz Center, free Sunday, March 23, 4 p.m., Atlanta’s Young Artists, Emory Chamber Music Society of Atlanta (ECMSA) Family Series, Carlos Museum, free Friday, March 28, 8 p.m., Inon Barnatan, piano and Alisa Weilerstein, cello, Candler Concert Series, Schwartz Center, $40/$32/$5 Saturday, March 29, 5 p.m., Sophia Lu and Yusuke Yamanaka, undergraduate piano recital, Schwartz Center, free Saturday, March 29, 8 p.m., Evan Wichman, graduate choral conducting recital, Schwartz Center, free Tuesday, April 1, 8 p.m., Emory Jazz Combos, Schwartz Center, free Friday, April 4, 8 p.m., Voices & Harps, Moya Brennan and Cormac de Barra, Schwartz Center, $20/$15/$5 Saturday, April 5, 2 p.m., Zhe Maggie Sun, undergraduate composition recital, Schwartz Center, free Saturday, April 5, 5 p.m., Sunny Yue, undergraduate violin recital, Schwartz Center, free Program Change: Due to illness, Isabel Bayrakdarian will not perform this evening as advertised. Yulia Van Doren will be the featured vocalist. Emerson Concert Hall Schwartz Center for Performing Arts 12 Sunday, April 6, noon, Tyler Cooke, clarinet, and Emily Reinhard, violin, undergraduate recital, Performing Arts Studio, free Sunday, April 6, 2 p.m., A. J. Bancroft, undergraduate trumpet recital, Schwartz Center, free Sunday, April 6, 3:30 p.m., Rebecca Flank, undergraduate viola recital, Performing Arts Studio, free Thursday, April 10, 6 p.m., Jazz on the Green, Patterson Green, free Friday, April 11, 7 p.m., Barenaked Voices, Eleventh Annual Emory Student A Cappella Celebration, Schwartz Center, $5 Saturday, April 12, 5 p.m., Hao Feng, undergraduate piano recital, Schwartz Center, free Saturday, April 12, 6:30 p.m., Zoë Pollock and Laurie Ann Taylor, undergraduate voice recitals, Performing Arts Studio, free Saturday, April 12, 8 p.m., Rwei Hao, graduate organ recital, Schwartz Center, free Sunday, April 13, 4 p.m. and 7 p.m., Emory Chamber Ensembles, Schwartz Center, free Wednesday, April 16 and Thursday, April 17, 8 p.m., Carl Orff’s Carmina Burana, Emory University Symphony Orchestra and Emory University Chorus, Schwartz Center, free Friday, April 18, noon, Emory’s Young Artists, Emory Chamber Music Society of America (ECMSA) Noontime Series, Carlos Museum, free Tuesday, April 22, 8 p.m., Emory Big Band, Schwartz Center, free Thursday, April 24, 6 p.m., Jazz on the Green, Patterson Green, free Friday, April 25, 8 p.m., Emory Wind Ensemble, Schwartz Center, free Saturday, April 26, 5 p.m., Brian Massey, undergraduate tuba recital, Schwartz Center, free Arts at Emory Box Office/Audience Information 404.727.5050 • arts.emory.edu IN CONSIDERATION Please turn off all pagers and phones. PHOTOGRAPHS AND RECORDINGS Not permitted without advance permission. COUGH DROPS In lobby, courtesy of Margery and Robert McKay. USHERS Members of Music at Emory Volunteers and Alphi Phi Omega, a national service and social fraternity. Call 404.727.6640 for ushering opportunities. event and program information Available online at arts.emory.edu. 13
© Copyright 2024 ExpyDoc
