MAGIC
DESTINY
ASCENSION
MAGIC December 3, 2022 7:30PM
David F. Clune Auditorium
at Wilton High School
YUGA COHLER, MUSIC DIRECTOR
RSO Board of Directors
Jeanette Horan, President Armel Kouassi, Treasurer Lana Afasieva Videen McGaughey Bennett Lori Berisford Jennifer Dineen Sarah Fox Michael Liebowitz
Jennifer Finnerty, Vice President Christopher Bennett, Secretary
Michael McNamara Lauren Mulvilhill
Dan Sheehan Allison Stockel Joel Third Luis Uriarte
Music Director Yuga Cohler
Executive Director Laurie Kenagy
Director of Marketing and Communications Jessica Hinkley Staff
T.D. Ellis, Orchestra Personnel Manager Catherine da Cruz, Operations Manager Amy Selig, Librarian
Ridgefield Orchestra Foundation Board of Directors Daniel O'Brien, President Scott Edwardson, Vice President Michael Soltis, Treasurer Barbara Dobbin, Secretary Chris Bennett Jennifer Finnerty Armel Kouassi Sabina Slavin
Nancy Holland Jeanette Horan Diana Kessler
David Whitehouse Steffani Weinshank
Ridgefield Symphony Orchestra 77 Danbury Road, Ridgefield CT 06877 203.438.3889 | email@ridgefieldsymphony,org | ridgefieldsymphony.org
Welcome to MAGIC!
We are looking forward to an evening of pure MAGIC - 70 outstanding RSO musicians, one highly acclaimed soloist, and three marvelous pieces of music! To learn more about the concert, you can read the artist bios, see the orchestra roster and read the program notes included in this digital concert program. Our soloist on December 3rd, Zlatomir Fung, is an internationally renowned cellist who has performed literally all over the world. Zlatomir was the first American in four decades, and youngest musician ever, to win first prize at the International Tchaikovsky Competition Cello Division in 2019 (the competition is held every four years). At 23 he has proven himself to be a star among the next generation of world- class musicians as the recipient of the Borletti-Buitoni Trust Fellowship in 2022 and an 2020 Avery Fisher Career Grant. Join us to experience what is sure to be a fantastic performance of Dvořák's Cello Concerto in B minor - generally considered to be the greatest cello concerto ever written. For information on all upcoming RSO events, including orchestra concerts, RSO Quartet chamber concerts, Music at the Mansion, and more, see the Upcoming Events page on the RSO website. We also ask you consider supporting the RSO Annual Campaign. The RSO engages, inspires and entertains by presenting live musical experiences of the highest artistic quality and makes world-class music accessible for all. But we need your help! By making a donation to the RSO, you are investing in the arts in your community, and helping to ensure local access to great live music. Your gift, no matter what size, truly makes a difference for the 2022/23 season and for the future! Make a donation. We look forward to sharing the MAGIC of live music on December 3rd! Laurie Laurie Kenagy Executive Director
Yuga Cohler, Music Director Yuga Cohler was named Music Director of the Ridgefield Symphony Orchestra in January 2018. “Cohler conducted with surety and security. The orchestra... played with a joyful sense of making a history.” — THE LOS ANGELES TIMES
Maestro Cohler is a conductor and cultural innovator. He is the creator of multiple orchestral concerts presented by Lincoln Center that advance classical music as a culturally relevant institution. These include K-Factor: An Orchestral Exploration of K-Pop, which garnered Lincoln Center’s youngest ever audience, and Yeethoven , a comparison of the works of Kanye West and Beethoven that was hailed as a work of “musical genius,” and received acclaim from such media outlets as Time Magazine, the Los Angeles Times, the Atlantic, and Rolling Stone. From 2015 – 2018, he held the music directorship of the Young Musicians Foundation (YMF) Debut Orchestra in Los Angeles, one of the foremost pre-professional orchestras in the country. Other orchestras with whom he has appeared in concert include the Juilliard Orchestra, Symphony New Hampshire, the Filharmonica Toscanini, the Kansai Philharmonic Orchestra (Japan), and the Tokyo Philharmonic Orchestra, which he guest conducts regularly and led on a sold-out international tour that concluded at Carnegie Hall. In 2018, Cohler was awarded the Paolo Vero Orchestral Prize at the Toscanini International Conducting Competition as the only American participant. Among the other accolades granted to him are the David McCord Prize for Artistic Excellence, the Charles Schiff Conducting Award, a Career Assistance Award from the Solti Foundation U.S., the Ansbacher Fellowship from the American Austrian Foundation, and fellowships from the American Academy of Conducting at Aspen and the Cabrillo Festival of Contemporary Music. Cohler is a Director of the Asia / America New Music Institute (AANMI), a collective that pursues cultural exchange through modern music. With AANMI, he has performed over 20 world premieres at such venues as the Beijing Modern Music Festival, the Asian Composer’s League in Seoul, and Suntory Hall in Tokyo. Cohler appears as both conductor and executive producer on AANMI’s debut album, Transcendent, released by Delos Records in 2018. Cohler received his master’s degree from the Juilliard School, where he studied conducting with New York Philharmonic Music Director Alan Gilbert. Prior to this, he graduated summa cum laude from Harvard University, where he studied computer science. His senior thesis, Optimal Envy-Free Cake-Cutting, has been cited by over 50 articles in the academic literature. Cohler has appeared as a guest host of the nationally syndicated classical music radio show From the Top, as well as a speaker at the Aspen Ideas Festival. yugacohler.com
The first American in four decades and youngest musician ever to win First Prize at the International Tchaikovsky Competition Cello Division, Zlatomir Fung is poised to become one of the preeminent cellists of our time. Astounding audiences with his boundless virtuosity and exquisite sensitivity, the 23-year-old has already proven himself to be a star among the next generation of world-class musicians. A recipient of the Borletti-Buitoni Trust Fellowship 2022 and a 2020 Avery Fisher Career Grant, Fung's impeccable technique demonstrates mastery of the canon and exceptional insight into the depths of contemporary repertoire. Zlatomir Fung, Cello
In the 2022-2023 season, Fung performs with orchestras and gives recitals in all corners of the world. Orchestral engagements include the BBC and Rochester Philharmonics, Milwaukee, Reading, Lincoln, Ridgefield, and Sante Fe Symphonies, Baltimore Chamber Orchestra, Sarasota Orchestra, and APEX Ensemble. He gives the world premiere of a new cello concerto by Katherine Balch with the Dallas Symphony Orchestra. He plays recitals throughout North America with pianists Benjamin Hochman, Dina Vainshtein, and Janice Carissa, including stops in New York City, Chicago, IL, San Diego and Berkeley, CA, Los Alamos, NM, Rockville, MD, Melbourne, FL, Vancouver and Sechelt, BC, Northampton, MA, Province, RI, Burlington, VT, and Waterford, VA. Tours of Europe and Asia include a recital at Wigmore Hall and two performances at Cello Biënnale Amsterdam. Recent summer festival appearances include Aspen Music Festival, Bravo! Vail with the New York Philharmonic and Leonard Slatkin, ChamberFest Cleveland, Chamber Music Northwest, La Jolla Chamber Music Society, Rockport Chamber Music Festival, and Verbier. As a soloist, Fung has appeared with the Detroit, Kansas City, Seattle, Utah, Greensboro, Ann Arbor, and Asheville Symphonies, among many others. Past recital highlights include his Carnegie Hall Weill Recital Hall debut with pianist Mishka Rushdie Momen and multiple tours throughout North America, Europe, and Asia. As a chamber musician, he has been presented by the Philadelphia Chamber Music Society, Philharmonic Society of Orange County, IMS Prussia Cove, Syrinx Concerts in Toronto, The Embassy Series & The Phillips Collection in Washington DC, and Salon de Virtuosi and Bulgarian Concert Evenings in New York City. A winner of the 2017 Young Concert Artists International Auditions and the 2017 Astral National Auditions, Fung has taken the top prizes at the 2018 Alice & Eleonore Schoenfeld International String Competition, 2016 George Enescu International Cello Competition, 2015 Johansen International Competition for Young String Players, 2014 Stulberg International String Competition, and 2014 Irving Klein International Competition. He was selected as a 2016 U.S. Presidential Scholar for the Arts and was awarded the 2016 Landgrave von Hesse Prize at the Kronberg Academy Cello Masterclasses. Of Bulgarian-Chinese heritage, Zlatomir Fung began playing cello at age three. Fung studied at The Juilliard School under the tutelage of Richard Aaron and Timothy Eddy. Fung has been featured on NPR’s Performance Today and has appeared on From the Top six times. In addition to music, he enjoys cinema, reading, and blitz chess.
https://www.zlatomirfung.com/
Ridgefield Symphony Orchestra Musicians Performing the December 3, 2022 Concert
Double Bass Kevin Callaghan, principal
Horn Sara Della Posta, principal Rusty Robinson, assistant Marjorie Seymour Callaghan Darlene Kaukoranta Jamie Thorne
Violin 1 Rachel Handman, concertmaster Garry Ianco, asst. concertmaster Jennifer Malone Hobbs Mark Kushnir Corinne Metter Margaret Hill Silvia Padegs Grendze Claudia Hafer Tondi Amy Schumann-Griswold Violin 2 Emily Frederick, principal Hafez Taghavi, asst. principal Lawrence Watson Joshua Daniels
Joseph Russo Tod Hedrick Wendy Kain Barone
Flute Allison Hughes, principal Elizabeth Kitson
Trumpet Jens Larsen, principal Andrew Willmott
Piccolo Jill Sokol
Andrew Caruk Stephen Lyons
Oboe Keve Wilson, principal Dorothy Darlington
Trombone Bradley Ward, principal Kurt Eckardt
Fong Fong Mila Gufeld Damaris Andrews Chié Yoshinaka
English Horn Charles Huang
Bass Trombone James Marbury, principal
Viola Suzanne Corey-Sahlin, principal Denise Cridge, asst. principal George Whetstone Jody Rowitsch Elizabeth Handman Cello Nicholas Hardie, principal Carlo Pellettieri, asst. principal Cheryl Labrecque Ravenne Michalsen Sarah Shreder
Clarinet Julie Levene, principal Mary Jane Kubeck Rodgers
Tuba Samantha Lake, principal
Harp Wendy Kerner, principal
Bass Clarinet Kathryn Taylor
Timpani Barbara Freedman, principal
Bassoon T.D. Ellis, principal Lisa Alexander Jackie Sifford Joyner
Percussion Lee Caron, principal Glenn Rhian Rich Dart
Contrabassoon Vincent Lamonica
David Edricks James Walker
Alto Sax Paul Cohen
Celeste Kathleen Theisen
MAGIC December 3, 2022 - 7:30 PM David F. Clune Auditorium Generously sponsored by Joan Payden Payden & Rygel Investment Management Yuga Cohler, Conductor Zlatomir Fung, Cello The Sorcerer's Apprentice Paul Dukas Cello Concerto in B Minor, Op. 104, B 191 Antonín Dvořák I. Allegro II. Adagio, ma non troppo III. Finale: Allegro moderato - Andante - Allegro vivo Zlatomir Fung, Cello Intermission Pictures at an Exhibition Modest Mussorgsky (orchestration by Maurice Ravel) I. The Gnome - II. The Old Castle - III. Tuileries - IV. Cattle V. Ballet of the Unhatched Chicks VI. Samuel Goldenberg & Schmuyle - VII. The Market at Limoges VIII. The Catacombs - IX. The Hut on Fowl's Leg X. The Great Gate of Kiev
THE SORCERER’S APPRENTICE – Paul Dukas
Born: 1865 / Died: 1935 Composed: 1897
Program Notes: Near the end of his life, the composer Paul Dukas burned all but a very small portion of his life’s work. If he were alive today, he may have wished that he left more music around, because his reputation rests on one piece. Here in America, were it not for Mickey Mouse and Disney’s 1940 film Fantasia, contemporary American audiences might know nothing of Paul Dukas. Paul Dukas’ father was a banker and his mother was an accomplished pianist who died when he was only five. Although he played the piano as a child, Paul didn’t show any real aptitude toward music until he turned fourteen. When he was sixteen, he enrolled at the Paris Conservatory, where he befriended the slightly older Claude Debussy. Even though Paul did well as a student, he dropped out. He was frustrated that he couldn’t win any of those prizes, like the coveted Prix de Rome, that helped establish so many composers. After a short stint in the military, he started a career as a music critic and composed. He wrote an overture in 1892, Polyeucte, that received some acclaim, as did his Symphony in C, which he wrote four years later. However, it was in 1897, when he wrote The Sorcerer’s Apprentice, that the world suddenly acknowledged Paul Dukas. Later, he wrote an opera based on the story of Bluebeard that is still admired in France. Dukas set such high standards for himself that he rarely released any of his music. Today, musicians rarely perform any of the music that he wrote in the latter half of his life. Dukas based The Sorcerer’s Apprentice on a poem that Goethe wrote one hundred years earlier, called Der Zauberlehrling. The poem tells of a sorcerer who can turn a broomstick into a real servant. The sorcerer’s apprentice overhears the magic formula and, one day when the old man is gone, tries it out. Sure enough, the broomstick does his bidding and starts bringing water from the nearby river to fill his bath. There is a problem. The apprentice does not know how to turn the magic off. As the water in the house begins to rise, the boy desperately axes the broom into pieces. Now, to his horror, each piece of the broom is bringing in the water. In the midst of the chaos, the sorcerer returns home. “Sir, my need is sore,” the apprentice cries. “Spirits that I’ve cited/My commands ignore.” The sorcerer says the magic word and restores order. Dukas’ masterful music follows the narrative of the poem. In the introduction, soft strings suggest a magical and watery atmosphere while the clarinet, oboe, and flute intone what will become the theme of the unstoppable broom. A sudden quickening of the tempo portrays the disobedient apprentice, while the snarling muted brass intone the magic spell. After a sudden and eerie silence, the story begins again in earnest with the bassoons playing the broom theme. Soon enough, the music become chaotic; perhaps you will be able to imagine the pleadings of the beleaguered apprentice amidst the rising waters. After a full-
Cont. throated statement of the “spell” theme from the brass and a lull in the action—the apprentice has cut the broom into pieces—the contrabassoon begins the melee again. This time the orchestra gets even more frantic. At the peak of the action, the brass once again powerfully state the “spell” theme. The master has returned and restores order. All is quiet until a final orchestral outburst signals the end of the story. Program notes by John P. Varineau CELLO CONCERTO IN B MINOR, OP. 104 – Antonín Dvořák Born: September 8, 1841, Mühlhausen (Nelahozeves), Bohemia Died: May 1, 1904, Prague Composed: Begun in New York on November 8, 1894, working simultaneously on sketches and the full score, and completed on February 9, 1895. In response to the death of his sister-in-law, Josefina Kaunitzová, Dvořák composed a new coda for the finale in June 1895. World Premiere: March 19, 1896. Cellist Leo Stern, with Dvořák conducting, in London Program Notes: Dvořák’s fame at home began with the performance in 1873 of a patriotic cantata called Heirs of the White Mountain. (It was the defeat of the Bohemians by the Austrians at the battle of the White Mountain just outside Prague in 1620 that led to the absorption of Bohemia into the Hapsburg Empire, a condition that lasted until 1918.) His international reputation was made by the first series of Slavonic Dances of 1878 and also by the Stabat Mater. The success of the latter work in England was nothing less than sensational, and particularly in the world of choir festivals Dvořák became a beloved figure there like no composer since Mendelssohn. In the 1890s, this humble man, who had picked up the rudiments of music in his father’s combination butcher-shop and pub, who had played the fiddle at village weddings and had sat for years among the violas in the pit of the Prague Opera House, would conquer America as well, even serving for three years as Director of the National Conservatory in New York. Dvořák enjoyed his first American visit. Nonetheless, he was glad to go home in the spring of 1894 and reluctant to return that fall. Ultimately, however, Dvořák signed another contract with the National Conservatory, and on November 1 he was at work again. The previous spring he had heard Victor Herbert, then principal cellist at the Metropolitan Opera, play his Cello Concerto No. 2 in Brooklyn; now he began to realize a scheme that that experience had suggested. In 1865 he had written a Cello Concerto in A major, but he never bothered to orchestrate that unsatisfactory work. Moreover, Dvořák for some time had wanted to write a work for his friend Hanuš Wihan, cellist of the Bohemian Quartet and the composer’s partner on a concert tour in 1892. Just as Dvořák had encouraged violinist Joseph Joachim to give him advice, to suggest and even to make revisions in the Violin Concerto of 1879, he now leaned on Wihan for technical assistance with the Cello Concerto.
Cont. He was, however, less docile now, and there was some friction, particularly concerning an elaborate cadenza that Wihan added to the finale. A reconciliation was achieved easily enough, but ironically a series of misunderstandings over dates between Dvořák and the Secretary of the Philharmonic Society of London made it impossible for Wihan to give the premiere of the concerto that had meanwhile been dedicated to him. Wihan played the piece for the first time in 1899 with the Amsterdam Concertgebouw Orchestra under Willem Mengelberg, and he later performed it on several occasions under the composer’s direction. The first movement introduces two of Dvořák’s most memorable themes. The one at the beginning—low clarinet, joined by bassoons, with a somber accompaniment of violas, cellos, and basses—lends itself to a remarkable series of oblique, multi-faceted harmonizations, and the other, more lyrical, is one of the loveliest horn solos in the literature. The Adagio begins in tranquility, but this mood is quickly broken by an orchestral outburst that introduces a quotation from one of Dvořák’s own songs, now sung by the cello in its high register and with tearing intensity. The song, the first of a set composed 1887-88, is “Kez duch muj san” (“Leave me alone”), and it was a special favorite of the composer’s sister-in-law, Josefina Kaunitzová. Thirty years earlier Dvořák had been very much in love with the then sixteen-year-old Josefina Čermáková, an aspiring actress to whom he gave piano lessons. The love was not returned, and Dvořák eventually married Josefina’s younger sister Anna, but something of the old feeling remained, and the song intruded on the concerto when the news of Josefina’s illness reached the Dvořáks on East 17th Street in New York. Josefina died on May 27, 1895, a month after the composer’s return from America, and it was in her memory that Dvořák added the elegiac coda to which he did not want Wihan to add a cadenza. For the song returns in the finale, and that coda stops the dancelike momentum. Here is what Dvořák wrote about that passage: “The Finale closes gradually diminuendo, like a sigh, with reminiscences of the first and second movements—the solo dies down . . . then swells again, and the last bars are taken up by the orchestra and the whole concludes in a stormy mood. That is my idea and I cannot depart from it.” He had been skeptical about writing a concerto for cello. Now he had written the best one we have. And Brahms, his friend and benefactor, growled: “Why in the world didn’t I know one could write a cello concerto like this? If I’d only known I’d have done it long ago!” Program notes by Michael Steinberg
Paul Dukas
Antonín Dvořák
PICTURES AT AN EXHIBITION – Modest Mussorgsky (orchestration by Maurice Ravel)
Born: March 21, 1839. Karevo, in the province of Pskov, Russia Died: March 28, 1881. Saint Petersburg
Composed: June 1874, and completed on the 22nd of that month. Maurice Ravel received a commission from Serge Koussevitzky to orchestrate the work, which he executed during the summer of 1922 in Lyons‑la‑Forêt World Premiere: (Ravel’s orchestration) October 19, 1922. Serge Koussevitzky conducted in Paris P rogram Notes : In 1922 the French composer Maurice Ravel told the Russian conductor Serge Koussevitzky about this set of fascinating piano pieces. Koussevitzky, his enthusiasm fired, asked Ravel to orchestrate them. It was through this orchestration, and through Koussevitzky’s frequent and brilliant performances, that Pictures at an Exhibition became an indispensable repertory item. Ravel was not the first to orchestrate the Pictures, and since his version many others have transcribed them, but I cannot imagine Ravel’s version ever being displaced. It is a model of what we would ask for in technical brilliance, imaginative insight, and concern for the original composer. The pictures are Victor Hartmann’s. He was a close and important friend to Mussorgsky, and his death at only thirty‑nine in the summer of 1873 caused the composer profound and tearing grief. The critic Vladimir Stasov organized a posthumous exhibition of Hartmann’s drawings, paintings, and architectural sketches in Saint Petersburg in the spring of 1874, and by June 22 Mussorgsky, having worked at high intensity and speed, completed his tribute to his friend. He imagined himself “roving through the exhibition, now leisurely, now briskly in order to come close to a picture that had attracted his attention, and at times sadly thinking of his departed friend.” That roving music which opens the suite he calls the Promenade. I. Gnomus (The Gnome) - According to Stasov, this represents “a child’s plaything, fashioned, after Hartmann’s design in wood, for the Christmas tree at the Artists’ Club. . . . It is something in the style of the fabled Nutcracker, the nuts being inserted into the gnome’s mouth. The gnome accompanies his droll movements with savage shrieks.” Il. vecchio castello (The Old Castle) - There was no item by this title in the exhibition, but it presumably refers to one of several architectural watercolors done on a trip of Hartmann’s to Italy. Stasov tells us that the piece represents a medieval castle with a troubadour standing before it. III. Tuileries - The park in Paris, swarming with children and their nurses. Mussorgsky reaches this picture by way of a Promenade. f IV. Bydlo (Cattle) - The word is Polish for “cattle.” Mussorgsky explained to Stasov that the picture represents an ox‑drawn wagon with enormous wheels, but added that “the wagon is not inscribed on the music; that is purely between us.”
V. Ballet of the Unhatched Chicks - A costume design for a ballet, Trilby, given in Saint Petersburg in 1871 (no connection with George du Maurier’s novel, which was not published until 1893). In this scene, child dancers portray canaries “enclosed in eggs as in suits of armor, with canary heads put on like helmets.” The Ballet is preceded by a short Promenade. VI. Samuel Goldenberg and Schmuyle - Mussorgsky owned two drawings by Hartmann entitled A Rich Jew Wearing a Fur Hat and A Poor Jew: Sandomierz. Hartmann had spent a month of 1868 at Sandomierz in Poland. Mussorgsky’s manuscript has no title, and Stasov provided one, Two Polish Jews, One Rich, One Poor; he seems later to have added the names of Goldenberg and Shmuel. VII. The Market at Limoges - Mussorgsky jots some imagined conversation in the margin of the manuscript: “Great news! M. de Puissangeout has just recovered his cow. . . . Mme. de Remboursac has just acquired a beautiful new set of teeth, while M. de Pantaleon’s nose, which is in his way, is as much as ever the color of a peony.” VIII. The Catacombs - With a great rush of wind, Mussorgsky plunges us directly into the Catacombae - The picture shows the interior of a catacomb in Paris with Hartmann, a friend, and a guide with a lamp. The music falls into two sections, Sepulcrum romanum (Roman Sepulchers) and Cum mortuis in lingua mortua (With the Dead in a Dead Language), a ghostly transformation of the Promenade. IX. The Hut on Fowl’s Legs - A clock in fourteenth‑century style, in the shape of a hut with cocks’ heads and on chicken legs, done in metal. Mussorgsky associated this with the witch Baba Yaga, who flew about in a mortar in chase of her victims. X. The Great Gate of Kiev - A design for a series of stone gates that were to have replaced the wooden city gates, “to commemorate the event of April 4, 1886.” The “event” was the escape of Tsar Alexander II from assassination. The gates were never built, and Mussorgsky’s majestic vision seems quite removed from Hartmann’s plan for a structure decorated with tinted brick, with the imperial eagle on top and, to one side, a three‑story belfry with a cupola in the shape of a Slavic helmet. Program notes by Michael Steinberg
Modest Mussorgsky
Maurice Ravel
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