Brahms Beethoven Falla Raleigh Civic Symphony Randolph Foy, Conductor with Guest Soloist Vivan Cheng, Piano Sunday, November ,  : .. Stewart Theatre NC State University, Raleigh

Program Academic Festival Overture () ........................................................................... Johannes Brahms (-) Concerto no.  for Piano (op. ,  - ) ................................................. Ludwig van Beethoven (-) . Allegro con brio . Largo . Rondo. Allegro Vivan Cheng, piano

Intermission

The Three-Cornered Hat Suite () ........................................................................... Manuel de Falla (-) Introduction Part : Afternoon Dance of the Miller’s Wife (Fandango) The Corregidor, The Miller’s Wife, The Grapes, Fandango Part : The Neighbor’s Dance (Seguidillas) The Miller’s Dance (Ferruca) Final Dance (Jota)

ncsu www rcs Raleigh Civic Symphony Association ...

www.ncsu.edu/rcs

About the Artist Salem orchestra as the previous winner of the WinstonSalem Symphony Talent Search Junior division. Her first appearance as soloist with orchestra took place last year with the Raleigh Civic Symphony, when she performed the complete Mozart Piano Concerto No.  in G major. This year, she has been invited back to perform the complete Beethoven Concerto No.  with this orchestra again in November. Vivian has been honored with awards from the N.C. Federation of Music Teachers, the North Carolina Music Teachers Association, and the Raleigh Piano Teachers Association. Last year, she performed in State Junior Festival Day as a state scholarship winner. Vivian has been a student of Mr. John Ruggero for the last three years. Vivian has also taken master classes D  and private lessons with the well-known  J pianists Andre-Michel Schub and Walter Hautzig.  P    

ivian Cheng is a twelve year-old pianist who lives in Cary, North Carolina. She began her playing piano at the age of five. Vivian is the winner of many competitions and has performed twice as soloist with orchestra. She gave her first full solo recital at age ten in  at Peace College in Raleigh. She performed works by Bach-Vivaldi, Beethoven, Rachmaninoff, Schubert, and Mozart. This year in April, she gave her second full solo recital at Saint Mary’s School Emerging Young Artists Series. She performed works by Beethoven, Rachmaninoff, Brahms, and Chopin. Also this year, Vivian won ⁿ place in the ⁿ Bartok-Kabalevsky-Prokofiev International Piano Competition in the Level V category. She was also recently a winner of the Tar River Orchestra Young Artist Competition and will perform as a soloist with this orchestra in November this year. In March, Vivian had performed twice with the Winston-

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Notes Beethoven – Piano Concerto no. 1 “Almighty God who look down into my innermost soul, you see into my heart and you know that it is filled with love for humanity and a desire to do good…” – Beethoven’s Heilegenstadt Testement “Keep your eye on him. He’ll make the world talk some day.” – W. A. Mozart on young Beethoven

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or music, Vienna was the place to be in the first movement’s ’s. At the age of , Beethoven moved there o r c h e s t r a l to study composition with Haydn. But he quickly i n t r o d u c t i o n became known as virtuoso pianist in a city of over  covers broad performer/teachers of piano. Through performances territory in in aristocratic salons, public concerts, and “pianistic e x p a n s i v e Ludwig Van Beethoven duels,” he established a reputation as a remarkable presentation of pianist, whose style was notably more brilliant and three main themes (the second in the remote key of powerful than contemporaries. As customary, he Eb major!) and wide dynamic ranges. The piano enters performed his own compositions (piano sonatas and (finally) with a new theme — a technique learned fantasias) as well as improvisations notable for their from Mozart. But the first movement’s most dramatic depth as well as technical prowess. part is the central development section. Following “In whatever company he might chance to be, he fortissimo chords and silences from the orchestra, we knew how to produce [on the piano] such an enter a fantasy-like section of dissonances and great effect upon every hearer that frequently not an eye private drama (Steinberg calls it a “dream interlude, remained dry… for there was something wonderful undisturbed by ghostly visitations”). After returning in his expression in addition to the beauty and to the public music of the opening, the movement originality of his ideas and his spirited style of concludes with an extensive bravura solo cadenza and rendering them…” orchestral close. — Recollection of Carl Czerny, Beethoven’s pupil The second movement Largo, in the distant key Brilliant piano concertos were one road to success, of Ab major, is from its outset music of great depth and Beethoven’s Piano Concerto in C likely contributed and sincerity, a glimpse of the composer’s heroic slow to the composer’s early fame. It was written three movements of a decade later. years after his arrival in Vienna, and contrary to the The rollicking final movement is, in Steinberg’s words numbering, was not his first but the second concerto “just on the edge of acceptable manners.” Beethoven’s in order. The first performance was December ,  delight at exploring Viennese playfulness is obvious at at a concert organized by his teacher, Joseph Haydn, every moment, in the rondo theme, the contrasting for the purpose of presenting three of Haydn’s London interludes, the interplay of soloist and orchestra, and symphonies. the surprise closing – mock serious, in which the piano The C Major Concerto must have astounded the quietly exits, leaving only sad, solemn woodwinds to audience by its scope and breadth alone – probably wonder why, followed by a boisterous close from the the longest concerto his audience had ever heard. The full orchestra.

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Brahms – Academic Festival Overture “What he played to us is so masterly that one cannot but think that the good God sent him to us ready-made.” Clara Schumann on Brahms, 1853 “I played over the music of that scoundrel Brahms. What a giftless bastard.” Peter Tchaikovsky, 1886

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hen the University of Breslau open to a brass chorale on the tune granted Brahms an honorary “We Have Built a Stately House.” degree in  for being “the Following lyrical string themes, premier master of rigorous musical a rollicking song started by the art in Germany today,” it was bassoon is a hazing initiation song expected that he present a sample ridiculing freshmen from the sticks. of his work for the solemn occasion. The rousing conclusion is the What he brought was an orchestral famous college song “Gaudeaums overture containing an ingenious Igitur.” As straight-forward as Brahms’ concoction of student songs that is both dramatic and festive but not music seems today, at it’s time it was regarded as abstruse, particularly solemn. The opening is dark and intellectual, and “difficult.” Even portentous, but soon the clouds in this relatively light overture

Johannes Brahms – Brahms is seldom more playful – his thoughts are packed tight and dense, rewarding careful listening to the interplay of ideas throughout.

Falla – Three-Cornered Hat

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anuel de Falla is generally the ballet El Sombrero de Tres Picos recognized as the greatest (“Three-Cornered Hat”). The Three-Cornered Hat (El Spanish composer of the century, though he had few competitors and sombrero de tres picos) was produced only a very small body of commissioned by Serge Diaghilev, works. At a time when Spain had the famed impresario of the Ballet been defined in concert music by Russe, which had taken western outsiders – Rimsky-Korsakov’s Europe by storm in the early Cappricio Espagnole, Bizet’s decades of the  century with Carmen, and Debussy’s Iberia works by Debussy, Ravel, and – Falla subtly captured the Spanish Stravinsky (including the Rite ethos with his Vide Breve, Night’s of Spring). Diaghilev wanted a in the Gardens of Spain (piano and “Spanish ballet” from Falla, and so orchestra), El amor Brujo (stage the composer decided to rework Manuel de Falla work), Harpsichord Concerto, and expand his music for a mimeand El retablo de maese Pedro. But play on Pedro Antonio Alarcón’s Miller. The transformation into perhaps his best known work is novella The Corregidor and the the more lengthy Three-Cornered

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Hat was accomplished through the addition of lengthy Spanish dances: a Fandango, Seguidillas, Farruca, and Jota – the most colorful music of the ballet. The ballet’s story is a satirical snub at the aristocracy, here portrayed in the form of a Corregidor, the village magistrate who wears a wide coat and a three-cornered hat as symbol of his rank. The Corregidor fancies the miller’s wife, and after a failed courtship (and several

dances), he resorts to having the miller arrested and locked in jail. After scenes of further attempted courtship, several falls in the stream, passionate dancing, mistaken identities, switched clothing, and village confusion, all are reconciled as the townsfolk celebrate St. John’s Day (in the Finale) as they throw the Corregidor in the air in playful mischief. — Program notes by Dr. Randolph Foy

Resources Solomon, Maynard. Beethoven. Second, revised edition. Schirmer Books: New York, .

Morgan, Robert. Twentieth-Century Music. W.W. Norton & Co.: New York, .

Steinberg, Michael. The Concerto: A Listener’s Guide.Oxford University Press: New York, .

Hess, Carol A. Manuel de Falla and Modernism in Spain, - / Chicago : University of Chicago Press, .

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“Bright lights on the music scene in Raleigh.” “The three-concert series was truly a class act.” – Spectator Presenting outstanding music, familiar and seldom heard, in an informative context

Raleigh

Civic Symphony Chamber Orchestra

Dr. Randolph Foy, Music Director

Upcoming Concerts Music for the Theatre – February 19, 2003 at 8:00 p.m. Music of Rameau, Schubert, and Copland African-American Composers I & II April 24, 2003 at 8:00 p.m. & April 27, 2003 at 4:00 p.m. Two concerts featuring works of African-American composers, including a residency of New York composer Daniel Bernard Roumain and performance of his “Fast, Black Dance Machine” and “Harlem Essay” Please visit www.ncsu.edu/rcs for complete concert information. Admission: $8.00 adults, $5.00 students. ARTS NCSTATE

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Tickets: (919) 515-1100

Raleigh Civic Symphony Randolph Foy, Music Director Violin I

Cello

Horn

Lyda Cruden, concertmaster Nancy Atkins Katie Greenfield John Hester Claire Hollins Brad Jones Jeff Liu Beth McCollum Sayuri Noehl Diana Proffit Kofi Owusu-Ofori Megan Tirpak Brad Warren

David Oh, principal Tamara Anderson Scott Bennett John Boles Michael Bridgers Nathan Finke Jim Jatko Heather Maxwell Kerry Pumphrey Ann Wheeler

Michael Ehlers, principal Ted Gellar Melanie McIlvaine Helen Munt

Violin II Lin-Ti Wang, principal Jeff Cates John Dolan Francine Hunter Sarah Knowlton Rachel Lilly Julie Mayberry Molly Puente Megan Remmers Margaret Smith June Tirpak

Viola Laura Ehlers, co-princ. Nevin Dawson, co-princ. Jeff Bryant Denise Franz Gigi Grizzard Erik Johnson Natalie Killmon Mildred Phelps Danielle Proffit Susan Sommers Hjordis Tourian James Walker

Bass Josh Hines, principal Adam Burke Rhonda Gordon Heather Lewis Laura McBride Mark Underwood

Flute Diana Cherry, principal Cindy Chastang Sallee Nelson, piccolo

Oboe Kris Madsen, principal Rosalind Finney

English Horn Rosalind Finney

Clarinet Brent Smith, principal Paul Cherry

Bassoon Russ Hill, principal John Caldwell

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Trumpet Brian Lowry, principal Joel Ebel Zeb Treece

Trombone Christine Thompson, principal Steven Anderson

Tuba John Fuller

Percussion Aaron Snyder, principal Ben McNeeley

Timpani Candy Pahl

Contribute to Our Success Your tax-deductible contributions help support the orchestra programs and their educational mission through the purchase and rental of music, master classes, printing, advertising, and artistic personnel. For more information about programs, auditions, and contributions, please call Dr. Randolph Foy at () -.

We Thank Our Sponsors The Raleigh Civic Symphony and Chamber Orchestra are sponsored jointly by the N.C. State University Department of Music and the Raleigh Civic Symphony Association, a non-profit organization. Rcsa is supported by the United Arts Council of Raleigh and Wake County, with funds from the United Arts Campaign and the Grassroots Arts Program of the North Carolina Arts Council, an agency funded by the State of North Carolina and the National Endowment for the Arts. Rcsa is funded in part by the City of Raleigh based upon the recommendation of the Raleigh Arts Commission.

RALEIGH CIVIC SYMPHONY ASSOCIATION A D  C:

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E D:

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B:

K L

G D  W M:

M A

S A: RCSA P:

T G J D P

Annabelle Lundy Fetterman Symphony Concertmaster Endowment Corporate Sponsors IBM matching employee contributions

Individual Sponsors Section Leader Alan & Janice Lipson Jennifer Spiker Mary Mitchell Ted Wagner Ann Wheeler Musician

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NCSTATE

Harry & Joy Allemang Stephen Anderson Michael Bridgers Holly Cope Cindy Chastang Denise Franz Dr. & Mrs. Gellar

Francine Hunter Harold Jeffreys Kevin Lawrence Meg Lell Mildred Phelps Margaret Smith Robert Upchurch

Program design and layout by Mark Allemang