Program Notes - InstantEncore

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Program Notes - InstantEncore
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Eric Dudley, Conductor
Robert Deutsch, Cellist
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January 20, 2013 at 4:00 pm
River Dell Regional High School, Oradell, NJ
PO Box 262 · River Edge, NJ 07661
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January 20, 2013 at 4:00 pm
River Dell Regional High School, Oradell, NJ
Eric Dudley Conductor
Idomeneo Overture, K 366
W.A. Mozart
1756–1791
Concerto for Cello in B flat major, G. 482
L. Boccherini
1743–1805
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I. Allegro moderato
II. Andante grazioso
III. Rondo: Allegro
Robert Deutsch Cello
INVESTMENTS
• Intermission •
Symphony no 1 in C minor, Op. 11
F. Mendelssohn
1809–1847
I.
II.
III.
IV.
Allegro di molto
Andante
Menuetto: Allegro molto
Allegro con fuoco
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Sunday Afternoon Concerts 2012–13
Mar 24 2013 — 3:00 pm
Pascack Valley Regional High School
Diane Wittry, Conductor • Alice Burla, Piano
May 5 2013 — 4:00 pm
Riverdell Regional School District Auditorium
Celebration of Opera and Anniversaries: Richard Owen Jr., Conductor
Works of Verdi • Mascagni • Wagner • Poulenc
Karen Foster, Soprano
Community Outreach Concerts: Adelphi Chamber Ensemble
Please turn off all cell telephones, pagers, or other audible electronic devices before the
concert begins. Audio or video recording of any kind, or photograpy are not allowed during the performance without express permission from the Adelphi Chamber Orchestra.
Feb 24 2013 — 2:00 pm Mahwah Public Library
Apr 21 2013 — 3:00 pm Teaneck Public Library
Orchestra Members
Violin 1
Audio Engineer
Bassoon
Melissa Macy*
Alexandra Wilson
Sylvia Rubin
Amelia DeSalvio
Muccia
Claire Kapilow
Rachel Matthews
Jina Choi
Genevieve R. Jeuck
Vincent Troyani
Robert Quinn*
Jessica Frane
Violin 2
Bass
Chelsea Merriman*
Karin Pollok
Dana Reedy-Gagler
Ellie Lipkind
Antonis Panayotatos
Lise Decoursin
Alice Yoo
Jay VandeKopple*
David Muleski
Viola
Oboe
Ruth Demarco-Conti*
Mary Kay Binder
Roland Hutchinson
Susan Salzman
Karin Satra
Gigi Jones
Linda Kaplan*
Nancy Vanderslice
Cello
Erika Boras Tesi*
Anne Taylor
Paul Vanderwal Mark Serkin
Peter Lewy
Flute
Carron Moroney*
Natasha Loomis
Clarinet
Richard Summers*
Caren Davis
*Principals
Rotating Seating Among Sections
French Horn
Carolyn Kirby*
Deloss Schertz
Trumpet
Roger Widicus*
Anthony Fenicchia
Timpani
James Mallen
Eric Dudley, Conductor
Eric Dudley leads a diverse musical career in New
York City as a conductor, singer, pianist and composer.
After highly successful tenures as assistant conductor
for the Cincinnati Symphony Orchestra under Paavo
Järvi and the Princeton Symphony Orchestra under
Rossen Milanov, his recent conducting engagements
include touring and recording with New York’s International Contemporary Ensemble and guest conducting the Camerata Orchestra (Bloomington, Indiana)
and Arcko Symphonic Ensemble on the Melbourne
International Arts Festival in Australia. He also enjoys
work as an educator and conductor of young ensembles on a regular basis, including the Mannes Prep Philharmonic and the InterSchool Orchestras (ISO)
of New York.
He is a full-time member of the acclaimed choir of Trinity Wall Street
Church, where he has also served as chorusmaster, assistant and guest conductor for several of the Trinity Choir and Baroque Orchestra’s concert engagements. He performs regularly with Musica Sacra, The New York Virtuoso
Singers, The Collegiate Chorale, Seraphic Fire (Miami, FL) and Bard Summerscape Opera, and has appeared as a tenor soloist with the American Symphony
Orchestra and Trinity Baroque Orchestra at both Lincoln Center and Carnegie
Hall. He has collaborated as a pianist and chamber musician with members of
the Cincinnati, Princeton and Albany symphony orchestras, and his compositions have received premieres by the Hartford Symphony Orchestra, Quey
Percussion Duo, and the ground-breaking vocal group Roomful of Teeth, of
which he is a founding member. He studied composition, piano and voice at
the Eastman School of Music, and trained as a conductor at the Brevard and
Aspen music festivals and as a recipient of his Master’s and Doctoral degrees
from Yale.
Robert Deutsch
Born and raised in Miami, Florida, Robert Deutsch
made his solo debut with the Miami Symphonic Society at the age of 17. He studied with Aldo Parisot
at the New England Conservatory of Music where he
earned his Master of Music degree. While studying
in Boston, he also participated in master classes with
Mstislav Rostropovitch and chamber music studies
with Rudolph Kolisch. He has been heard in summer
festivals in Colorado and Florida and in recital in such
cities as Boston, New York, Miami, and Tulsa. He also
has been heard in national broadcast with American
composer Gunther Schuller on PBS television. Mr. Deutsch has held the position of Principal Cello with the New England Conservatory Symphony, The
Springfield, Mass. Symphony, the Tulsa Philharmonic, The Fort Lauderdale
Symphony Orchestra, and the Greater Miami Opera Orchestra. He has also
held the Associate Principal position with the Miami Philharmonic. He joined
the Houston Symphony in 1976 and retired from this position after a thirty
year career. He has been heard as soloist with the HSO performing concerti by
Saint Saëns and Haydn. He has also been a featured soloist with the Galveston
Symphony and Houston Civic Symphony in concerti by Haydn, Boccherini,
Schumann, Dvorak, and Benjamin Lees. In 1986, he performed the Houston
premiere of the Miaskovsky C Minor Concerto Cello Concerto with the Civic
Symphony of Houston and has given Master Classes in several cities, including
Miami Florida, Memphis Tennessee, Boulder Colorado, Shanghai China, and
Morristown, NJ. He has taught Cello and Chamber Music at the University of
Tulsa. Currently, Mr. Deutsch leads the cello section of the Adelphi Chamber
Orchestra and teaches cello privately in Ledgewood, NJ. He spends his spare
time performing chamber music, solo recitals and as a collector and restorer
of fine string instruments for which he maintains the website Stringnet.com.
Program Notes
Idomeneo Overture, K 366: Idomeneo, Mozart’s first great opera, was the result of a
commission from the Elector Karl Theodor of Bavaria. In 1778, the Elector had moved
his court to Munich from Mannheim, where Mozart stayed nearly six months during
his journey to Paris. By the time he commenced work on the opera in October 1780,
Mozart, not yet 25, already had nine operas to his credit.
The libretto chosen had been set by French composer André Campra nearly 60
years earlier; for Mozart’s purposes it was revised by Gianbattista Varesco, a Salzburg
chaplain. Set on the island of Crete, it recounts the legend of the return of the Cretan king, Idomeneo, to his homeland at the end of the Trojan War. Beset by a storm,
Idomeneo promises Neptune a human sacrifice if he and his crew are saved. That the
potential sacrifice turns out to be the king’s own son, Idamante, becomes the central
conflict of the drama.
One of the great glories of the work is the orchestration. Mozart obviously relished
writing for the large and outstanding orchestra attached to the Elector’s court, many
of whose members had formerly belonged to the Mannheim orchestra, the finest in
Europe. The score he produced includes pairs of flutes, oboes, clarinets, and bassoons
along with four horns, two trumpets, three trombones, and strings; it is the richest of
all his operatic scores, and it drew contemporary criticism for being “too much filled
up with accompaniments.”
Idomeneo was given its first performance at the Residenz Theater on January 29,
1781; the spectacular staging was particularly praised in the sole contemporary account that was preserved. The opera was not taken up elsewhere, doubtless in part due
the demanding orchestral writing, but also because its mixture of Italian and French
styles was confusing to contemporary expectations. Mozart did adapt and revive the
opera in Vienna in 1786, but Idomeneo has had to wait until the twentieth century to
be fully accepted into the repertory.
The overture to Idomeneo portrays both the nobility of the “opera seria” characters
(Gods, heroes, and nobles) and the stormy nature of the plot, even though it is in a major key. Originally, it elides directly into the opera, but the version heard this afternoon
has a concert ending composed by Carl Reinecke.
From All Music Guide
Concerto for Cello in B flat major, G. 482: Luigi Boccherini’s Cello Concerto No. 9 in
B flat Major, G. 482 was written in either the late 1760s or early 1770s. Boccherini, a talented cellist, composed twelve concertos for his instrument. German cellist Friedrich
Grützmacher chose this concerto to be arranged to fit the style of a Romantic virtuoso
concerto, in 1895, and in this form, widely heard, it bears only a tenuous resemblance
to the original manuscript.
The Boccherini Ninth Cello Concerto has long been an integral part of standard
cello instruction, because of creeping use of the full 4+ octave range of the cello, rather
than large jumps between different finger positions.
Grützmacher merged Boccherini’s Ninth Cello Concerto with other Boccherini
Cello Concertos. Besides the extensive cuts in the outer movements, Grützmacher decided to rid the Concerto of its original second movement, replacing it with that of the
Seventh Cello Concerto (in G Major, G. 480). The Fourth Cello Concerto (in C Major,
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G. 477) makes an appearance in bars 40–46 of the first movement, and in bars 85–96
and 151–163 of the Rondo; borrowing from the respective movements. The arpeggios
of the Fifth Cello Concerto’s (in D Major, G. 478) first movement are featured in their
minor form in bars 47–53 of the first movement. Grützmacher also took the liberty
of writing his own cadenzas. Despite all the changes, this Concerto holds up as one of
Boccherini’s best known works. English cellist Jacqueline du Pré made a recording of
this edition of the Concerto.
Nevertheless, Boccherini’s original work is slowly beginning to resurface. Wellknown cellists like Maurice Gendron, Yo-Yo Ma, and Raphael Wallfisch have all made
recordings of this long overshadowed work. Nowadays, the two works are distinguished
by their origin: Original vs. arr. Grützmacher.
From Wikipedia
Robert Deutsch will be performing the original version of the Concerto. Mr.
Deutsch composed the cello cadenzas for this afternoon’s performance.
Symphony no 1 in C minor, Op. 11: Mendelssohn wrote his C minor Symphony between March 3 and 31, 1824 when he was only 15, and it is thus about eighteen months
earlier than the Octet and two and a half years earlier than the Overture, A Midsummer Night’s Dream. He had already composed a dozen “symphonies” for strings, so he
labeled the manuscript “No. 13,” but in fact the C minor was his first for full orchestra.
He seems to have been better pleased with it than with any other he achieved before
the Scotch; whereas he allowed only one performance of the Reformation (1830) and,
except in England, none at all of the Italian (composed in 1833 but not published until
after his death), he positively encouraged performances of the C minor. The first was
in Leipzig on 1 February 1827 with J.P.C. Schultz conducting, and there were others in
London at Philharmonic Society concerts on 25 May 1829 conducted by the composer
and on 17 May 1830 conducted by Sir George Smart. On these London occasions, as
also for a Munich performance in 1831, Mendelssohn substituted for the Minuet his
delightful orchestration of the G minor Scherzo from his Octet, slightly shortened for
the symphony. This implies that he was not satisfied with the Minuet, yet in 1834, when
the symphony was published, he let it stand. Modern performances occasionally substitute the Scherzo for the Minuet.
As might be expected, this is the most classical in form of Mendelssohn’s symphonies, the one that seems nearest to Mozart and early Beethoven. Influences from Mozart’s Symphony in G minor K550 can be heard in the Minuet in its use of syncopation,
and the sections for woodwinds alone. A feature in the main tune of Mozart’s Finale
can be seen to influence Mendelssohn’s Finale. Echoes of Beethoven’s Second Symphony
and Prometheus Overture can be heard in the first movement, as well as some of Weber’s ebullience. But influences can be detected in most symphonies, and they do not
detract from what is an astonishing achievement for a boy of 15.
Thematic links between movements are less obvious than in Mendelssohn’s slightly later Octet, the String Quartets in A minor and E flat, and the Reformation Symphony,
but it is likely that he was already pondering such links, hints of which can be heard in
this symphony.
Mendelssohn dedicated the Symphony to the Philharmonic Society of London,
and gave them the autograph.
Adapted from Roger Fiske, 1980
Patrons of the Adelphi Chamber Orchestra
Martin Perlman
Perlman family Foundation
Perry & Gladys Rosenstein
Leanore & William Rosenzweig
Dr. David Roth
Constance R. Schnoll & Alfred
Paranay
Sylvia & David Rubin
Sam Ash Music
Leta & Stan Sabin
Marilyn Siegel
Sigrid & George Snell
Manny & Janet Sosinsky
Rev & Mrs. L.O. Springsteen
Herb & Gaby Strauss
Nancy Vanderslice
Robert E. Whitely
Phillip & Lisa Willson
Hagop and Sirapi Aram
Chick Barnes
Cynthia Bernstein
Barbara Bettigole
Jeaninne & Fred Feinstein
Mrs. Jon Fellgraff
David Feltner
Katie & Ed Friedland
Elizabeth Heald
Claire & Robert Kapilow
Carolyn & Paul Kirby
Peggy & Al Klase
Joan & Bill Kuhns
Gerald & Lillian Levin
Margaret Cook Levy
Ruth R. Maier
Rachel Matthews
Martin Merzbach
Stanley Miller
Tributes
In memory of Frank Lee
Barbara Bettigole
Robert Colwell
Glenn Danks
Peggy & Al Klase
Joan & Bill Kuhns
Cliff & Kathy Lee
Margaret Cook Levy
Mr. & Mrs. Elmer Omstead
Elmer & Jean Omstead
Martin Perlman
Perlman Family Foundation
Sylvia & David Rubin
(Violin Chair)
Sigrid & George Snell
Rev. & Mrs. L.O. Springsteen
(Violin Chair)
Herbert & Gaby Strauss
In memory of Neal Bettigole
Barbara Bettigole
In memory of Jules Braverman
Leni & Bill Rosenzweig
In memory of Fannie Hardwick
Feltner
David Feltner
(Viola Principal Chair)
In memory of Edward A. Levy
Margaret Cook Levy
In memory of Morton Rubin
David & Sylvia Rubin
In honor of Rick Peckham
Diane Wittry
(Bass Chair)
Acknowledgments
The River Dell Regional School District
For the Use of the Beautiful High School Auditorium
The River Dell Regional School District
For the Use of Rehearsal Space for this concert
The Adelphi Chamber Orchestra
wishes to express its gratitude
to all of its volunteers, friends, individual, corporate, and
foundation donors, advertisers,
River Dell Board of Education
for helping to make all of our programs possible.
We are looking forward
to sharing more music with you this concert season.

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