26th Anniversary Season - Woodstock Mozart Festival

26th Anniversary Season
2012
Wo o ds toc k O pe ra House
W oods toc k, Illinoi s
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PRE-CONCERT INTRODUCTIONS
COMMUNITY ROOM
August 4-5
Saturday 7:00 P.M.
Sunday 2:00 P.M.
Conductor/Artist Conversation
IGOR GRUPPMAN, violinist and conductor
VESNA GRUPPMAN, violin
COMMUNITY ROOM
August 11-12
Saturday, 7:00 P.M.
Sunday, 2:00 P.M.
Conductor/Artist Conversation
ARTHUR ARNOLD, conductor
ALEX KLEIN, oboe.
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A Special
Request from
the Festival…
Please take a few
minutes to fill out the
information card in
your program book
so we can update
our records. Most
important, please
include your email
address.
Hand your completed card to
an usher during intermission or after
the concert so you can receive our
special notices and Festival newsletter.
Thank you….
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ANNOUNCING
Another Winning
Season in 2013
July 27-28
DONATO CABRERA, conductor
VASSILY PRIMAKOV, piano
August 3-4
OREST SHOURGOT, violinist and conductor
NAZAR DZHURYN, cello
August 10-11
JAMES SOMMERVILLE, hornist and conductor
2013 SEASON OF THE
WOODSTOCK MOZART FESTIVAL
Subscription Renewals Available January 14, 2013
New Subscriptions on Sale, February 25
Single Tickets, April 1
Receive the following benefits
when you subscribe for all three weekends
- Save up to 15% over single ticket purchases - First Choice preferred seating –
- Guaranteed seats - The right to renew those seats in 2014 -
CALL THE WOODSTOCK OPERA HOUSE
BOX OFFICE FOR DETAILS
(815)338-5300
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We dedicate this season to
ROGER BENSON, M.D.
The Community of Woodstock and the Woodstock Mozart
Festival lost a dear friend this past 4th of July….
Roger Benson, M.D.
Born in his grandmother’s home in Huntley, Roger grew up
in Wonder Lake, graduated from McHenry High School,
and received his undergraduate degree at the University of
Illinois at Champaign-Urbana where he was a member of the
varsity basketball team. He graduated from the University’s
medical school in 1966. His internal medicine residency at
Cook County Hospital was interrupted by service in Vietnam
from 1968-71 with the U.S. Navy Medical Corps, and after
completing his residency, he continued as an attending physician at Cook County
Hospital, then joined the staffs at Loyola Medical Center and Michael Reese
Hospital. He later found his true calling as a correctional care physician at Cermak
Health Services of Cook County providing medical care for the inmates at Cook
County Jail and later at the Milwaukee County Department of Corrections.
Roger loved Cajun dancing and collecting antiques. He also was an avid supporter of
the Chicago folk music scene and board member of Offsquare Music in Woodstock,
his last residence. A member of the Mozart Festival Board for 12 years, Roger
volunteered to monitor the Festival’s local post office box and conscientiously deposited
all checks received, never making a mistake!
Former Mozart Festival board president, physician Ray Pensinger who has known
Roger since school days, says, “I always had the highest regard for him as a doctor who
truly cared for his patients and a wonderful man who loved the Woodstock community,
many types of music, but especially the WMF. We will miss him greatly.”
Tom Svoboda, president – “Roger was a serious student of classical music. He was
the “voice of reason” on the board…always ready to lend a hand no matter what the
project.” Marsha Portnoy, board member - “Roger was a gentleman, a gentle man. He
will be missed by all who had the privilege to know him.” Beth Wester, board member
reiterated this description and added that “…he did all he could to help accomplish
whatever goal was at hand.”
Roger was married to Linda Noggle for nine years, and considered her daughter,
Camille Altay (now of Brooklyn), his own. He was devoted, not only to them and to
his and Linda’s family, but one could easily say, to everyone he met…to all mankind!
We will all cherish our memories of Roger.
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Deepest gratitude to those who have
made contributions to the Festival
In Memory of Roger Benson
Camille and Kenan Altay
John M. Raba
Joyce H. Barker
Dr. and Mrs. Mindas V. Siliunas
Anna and Leonard Bersky
Karen Stanlaw and Gilbert Sandgren
Janel and Joseph Bottala
Betty C. Sterling
Judy Nathan Chapin
Mary Ellen and Ed Streit
Hollace and Gregory Glover
The Health Services Unit Staff
of the Milwaukee County Jail
Susan and James Justen
Denise and Earl Thompson
Susan and George Kazlusky
Anita and Charlie Whalen
Lois Kenyon
Dr. Concetta C. Menella-Zasso
and Dr. Charles J. Zasso
Andrea and Steven McCue
Amy and Al Ottens
“Mozart is Happiness
before it has gotten defined”
– ARTHUR MILLER
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BOARD OF DIRECTORS
2012
Tom A. Svoboda, President
Maija Mizens, Ph. D., Vice President
Mark Schiffer, M.D., Secretary
Amy Ottens, Treasurer
Allen Ottens, Ph. D.
Ray J. Pensinger, M.D.
Marsha Portnoy
Mark Schiffer, M.D.
Elizabeth Wester
The Woodstock Mozart Festival is a member of the
League of American Orchestras and the Illinois Arts Alliance
F E S T I VA L S TA F F
Anita Whalen, Artist and General Director
Lori Babinec, Personnel Manager/Librarian
Pat Kalina, Administrative Assistant
Funding is provided by the Illinois Arts Council, a state agency,
and through private, foundation, and corporate contributions.
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A MESSAGE FROM
THE PRESIDENT
Dear Friends,
Welcome to the twenty-sixth annual Woodstock Mozart
Festival! The twenty-sixth! Wow! As impressive as our Silver
Anniversary was last year, this year is expected to be even
better. It is our pleasure to present this entertainment to you,
our audience members and supporters.
This past year, Board members and concerned community supporters met regularly
to discuss all aspects of the Festival, considering additions, deletions, and other
modifications to the content and programming of the concerts. One of the original
meetings involved asking each member of the Board of Directors, “Why should we
have a Mozart Festival in Woodstock?” The depth and content of the responses was
remarkable. Your Board members love this community and strive to present the finest
entertainment available consistent with financial constraints.
Anita Whalen is already working on lining up talent for our twenty-seventh year. We
hope that you, our audience, will continue to support and attend these concerts which
have developed a world-wide reputation. Please consider financial support for the
Festival as well. Every donation is welcome, from $25 to $1,000 dollars. It all helps.
We look forward to enjoying these concerts for years to come with you, your families,
and friends.
Enjoy the concerts,
Tom A. Svoboda
President
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PROGRAM I
Sincerest
appreciation to
Charitable Foundation
for their support of our opening
weekend’s concerts.
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W OOD STOC K MOZAR T F E ST I V A L
PROGRAM I
Saturday, July 28, 2012 • 8:00 P.M.
Sunday, July 29, 2012 • 3:00 P.M.
Woodstock Opera House
DAVID SCHRADER, pianist and conductor
Concerto No. 8 in C Major,
for Piano and Orchestra, Lützow
I. Allegro aperto
II. Andante
III. Tempo di menuetto
Wolfgang Amadeus Mozart
Symphony No. 29 in A Major,
K. 186a [201]
I. Allegro moderato
II. Andante
IV. Menuetto
III. Allegro con spirito
Wolfgang Amadeus Mozart
INTERMISSION
Concerto No. 9 in E-flat Major for
Wolfgang Amadeus Mozart
Piano & Orchestra, K. 271, Jeunehomme
I. Allegro
II. Andantino
III. Rondo: Presto
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July 28-29
DAVID SCHRADER,
pianist and conductor
A performer of wide ranging interests and
accomplishments, keyboard artist David Schrader has
performed at many venues on a variety of instruments:
harpsichord, organ, piano and fortepiano. His numerous
appearances reflect his versatility as a guest artist in
demand for unusual gifts. Mr. Schrader has appeared at
the American Guild of Organists’ national convention,
and as a featured artist with the Dallas, Colorado, San
Francisco and Chicago Symphony Orchestras, as well
as with the Grant Park Symphony. He also has performed at the Brooklyn Academy
of Music, as the repetiteur and principal harpsichordist in Chicago Opera Theater’s
production of “Orfeo”; and was the featured performer at the Irving Gilmore
Keyboard Festival as organ, harpsichord and clavichord soloist as well as at the Ravinia
Festival as harpsichordist in all six of the Bach Brandenburg concertos. Conductors
with whom he has worked include Sir George Solti, Daniel Barenboim, Pierre Boulez,
Karlos Kalmar, Nicholas McGegan and Roger Norrington.
Mr. Schrader’s international festival credits include an appearance as the Artist of
the Year at the Oulunsalo Soi Music Festival in Oulu, Finland; as harpsichord soloist
with the Nagaokakyo Chamber Ensemble on a tour of Japan and with the Canadian
baroque orchestra Tafelmusik on a European tour. In the United States, he has
performed at the Aspen Music Festival, the Michigan Mozarfest, Connecticut Early
Music Festival, the Manitou Music Festival and the Woodstock Mozart Festival.
A Chicago resident, Mr. Schrader appears regularly with many local ensembles:
Baroque Band, Music of the Baroque, Newberry Consort, Bach week in Evanston,
the Chicago Chamber Musicians, Contemporary Chamber Players Chicago Baroque
Ensemble and The City Musik. He is a frequent guest on WFMT radio, and his recording
with the Grant Park Symphony of music for organ and orchestra by American composers
is the first recording of the Casavant Frères organ in Chicago’s Symphony Center. Other
numerous releases appear on the Cedille label and are listed at davidschrader.com.
Recipient of a Doctor of Music degree from Indiana University as well as its
Performer’s Certificate, David Schrader received his earlier piano collegiate training in
his home state at the University of Colorado.
“…truly an extraordinary musician…(who)brings not only the unfailing right technical approach to
each of these different instruments, but always an imaginative, fascinating musicality to all of them.”
Norman Pelligrini, WFMT, Chicago
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PROGRAM I NOTES
Notes by Roger Ruggeri © 2012
Wolfgang Amadeus Mozart
b. January 27, 1756; Salzburg
d. December 5, 1791; Vienna
Piano Concerto in C major, K. 246, (No. 8)
A product of the era of America’s proclaimed independence, this early Mozart concerto
was written in April of 1776 for a member of Archbishop Colloredo’s family. The
employer of the Mozart family in Salzburg, Colloredo held the secular-religious post
of Prince-Archbishop, was not well-liked in Salzburg and is remembered for just barely
enduring the young Mozart’s restless nature. The woman for whom Mozart wrote this
concerto was the twenty-five year old Countess Antonia Lützow, who was married
to the Archbishop’s nephew. A student of Mozart’s father, Leopold, she was a rather
accomplished pianist. Mozart did not have to curb his inspiration, but felt free to write as
if composing for his own performance. Mozart performed the work in Munich in 1777
and possibly a few years later in Vienna.
The third of an early set of six piano concertos, sometimes called “the Salzburg
concertos,” this work begins with an Allegro aperto revealing a gracefully rising melody
that would twice more appear in Mozart’s works (both times also in C major). A second
movement Andante is filled with Mozartian yearning, while the final movement is a
Rondeau, Tempo di Menuetto. For this last movement, Mozart wrote out three different
cadenzas.
Wolfgang Amadeus Mozart
Symphony No. 29 in A major, K. 201 (186a)
Returning from Vienna with his father during the first days of 1774, the eighteen-yearold Mozart celebrated the New Year with a burst of creativity that included the present
A major symphony. One of the most striking works of this period, the Symphony No. 29
reveals traces of Mozart’s Viennese experiences, both in its four-movement form and in
an undercurrent of urgency that adds a new dimension to the generally Italianate charm
of his expression. Alfred Einstein, the noted Mozart scholar, writes: “There is here a new
feeling for the necessity of intensifying the symphony through imitation, and of rescuing
it from the domain of the purely decorative through a refinement of detail such as is
characteristic of chamber music. The instruments change character: the strings become
wittier, the winds lose everything that is simply noisy, the figuration drops everything
merely conventional. The new spirit shows itself in all the movements....”
Mozart may have also been influenced by one of his Salzburg neighbors, Michael
Haydn. Although overshadowed by his older brother, Joseph, the “other” Haydn was
Continued—
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Program I Notes Continued—
quite a respectable composer; among Michael Haydn’s works is an A major symphony
that appears to have been Mozart’s model in the writing of his Symphony No. 29. Mozart
continued to prize this symphony for two oboes, two horns and strings; eight years after its
composition, he revised it very slightly and scheduled it on his distinguished concert series
in Vienna.
I. Allegro moderato; A major, 4/4. First violins immediately state an ingenious first theme
that consists of a descending octave and tightly-knit repeated half-steps. This latter part
of the theme is seen as an early example of the chromatic expression that bloomed more
fully in Mozart’s later life. A graceful second theme, again presented by first violins,
provides a foil to the first idea. Concise development leads to a restatement of the themes
and the close of the movement.
II. Andante; D major, 2/4. Muted strings reveal both themes of this sonata form
movement; generally, the expression of the Andante is that of an operatic serenade. At
the end, the winds take over for a few measures while the strings remove their mutes in
preparation for the movement’s solid closing measures.
III. Menuetto; A major, 3/4. Filled with the spirit of 18th-century Vienna, this minuet and
trio transcend the polite Salzburg traditions and begin to suggest the grandeur of later
symphonic expressions.
IV. Allegro con spirito; A major, 6/8. The finale brims with bustling strings and vital scale
passages. A certain opera buffa quality emerges as this sonata-form movement flies to its
closing coda.
Wolfgang Amadeus Mozart
Piano Concerto in E-flat major, K. 271, (No. 9)
In the month of his twenty-first birthday, Mozart wrote this concerto for a French
virtuosa, Mlle. Jeunehomme, on the occasion of her visit to Salzburg. A remarkable piece,
this concerto has been regarded as Mozart’s first mature piano concerto. Biographer
Alfred Einstein praises it as “one of Mozart’s monumental works, those works in which
he is entirely himself, seeking not to ingratiate himself with his public but rather to win
them through originality and boldness. He never surpassed it.” Because of this concerto’s
impact, depth, innovations, and perhaps because of its key of E-flat major, Einstein dubs
it “Mozart’s Eroica.”
Little is known about Mme Jeunehomme (Mozart casually referred to her as “Jenomy”),
but it is believed that she was a fine player who likely premiered the work on her trip to
Salzburg. Better documented is the fact that Mozart performed this concerto as soloist at
Munich on October 4, 1777, and later in Vienna at spring concerts in 1781 and 1783.
Still existing are two sets of Mozart’s cadenzas and three sets of lead-ins for the Finale.
Continued—
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16 ◆
Program I Notes Continued—
1. Allegro; E-flat major, 4/4. An extensive orchestral introduction was the standard way
to launch a concerto in the classic era; but here Mozart surprises his listeners by having
the piano soloist enter briefly in the work’s opening measures. (It would be more than
a quarter-century until Beethoven made similar gestures in his Fourth and Fifth Piano
Concertos.) Unexpected interactions between soloist and orchestra continue throughout
this sonata-form movement.
II. Andantino; C minor, 3/4. The first minor-mode movement in a Mozart concerto, this
Andantino employs muted strings to evoke a sense of repressed quasi-operatic passion.
Throughout, there are youthfully mercurial shifts of emotion.
III. Rondeau: Presto, 2/2; Menuetto: Cantabile, 3/4; Presto, 2/2. Expected brilliance and
virtuosity abound in this finale until the surprising onset of a minuet with four variations.
Calling it “no excursion into the field of the popular,” Alfred Einstein continues: “This
minuet is serious, elegant, stately, and expressive, all at once; it reflects the deep agitation
of the Andantino, which is still seeking appeasement.” A virtuosic cadenza leads to the
closing return of the dazzling Presto.
In his consideration of Mozart’s piano concertos, Cuthbert Girdlestone writes: “It would
be an exaggeration to pretend that Mozart has attained in this delightful work the level
of his great compositions of 1784-86. Maturity is wanting here, and even the andantino,
however moving, expresses a more youthful, more external sorrow than the ‘tragic’
andantes of the Vienna years. but it is the earliest of his piano concertos which survives
today on its own merits and, in the history of the young composer’s growth, it is an
important landmark.”
“Mozart!
What a radiance streams from the name!
Bright and pure as the light of the sun,
Mozart’s music greets us.”
– FRIEDRICH KERST, German author
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Octoberfest
E M RI C S O N PARK
WO ODSTO C K , I LL I N O I S
OCT. 6TH
•
•
•
•
Brats and Other German Foods
Assortment of Beers
Music & Dancing / Polka Lessons to get you started
Fun Activities
B e a n B a g To s s To u r n a m e n t
Beer Stein Relay
Sausage Race
• Raffles—including the
Mozart Festival Quilt
Ticket Information
www.mozartfest.org
S P O N S O RE D BY
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ed
blish
Esta 1973
in
The Player’s Bench
m u s i c
s t o r e
(815) 459-8614
www.playersbenchmusic.com
Name Brand Instruments  Instruction  Service
Sheet Music  Accessories  Repairs  Rentals
Violins  Guitars  Keyboards  Drums  Amps
87 N. Williams Street Crystal Lake, IL 60014
M-F: 11 am - 8 pm, Sat: 9 am - 5:30 pm, Sun: 12 pm - 5 pm
Celebrating 5 Years on
Woodstock Square!
Fine books, unique gifts and eclectic music
“Those who love good music, good books, good pictures, good company, good
conversation, are the happiest people in the world.” William Lyon Phelps
The Only Best Western in McHenry County
Woodstock Inn
990 Lake Avenue
Woodstock, IL
Indoor Pool & Exercise Facility
Complimentary Continental Breakfast
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More info at www.bestwestern.com
815-337-0165
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FROM THE ARTISTIC and
GENERAL DIRECTOR
Dear Friends,
This season, our 26th, marks my 20th anniversary with the
Festival. What a run it has been! …one of extraordinary
experiences, performances, satisfactions, joys and challenges. As
everyone knows, it is a great privilege to work on behalf of one’s
passion, and for this I am deeply grateful.
If you have been attending the Festival for a number of years,
you may have heard the orchestra improve, gone home with
unforgettable performances lodged permanently in your
Anita Whalen
memory, and seen the size of the audience diminish and rally
according to changing times and economic influences. For
those of you who have stayed the course, we hope that our concerts have brought you the
pleasure and inspiration we strive for.
When I say “we”, I refer to the orchestra along with myself. A feature you may not be
aware of regarding the continual improvement of the orchestra’s sound and ensemble
over the years has been explained to me by our own players who say they love playing the
Festival…that it is their favorite experience of the year! Some say they play better here
than anywhere else! They attribute this to having been together for many years.
By returning together annually, even for only three weeks, they have been able to develop
a rare trust and understanding among themselves…a special sensitivity which leads to
escalating artistic results. I did not think that this was so unusual, but they tell me it is…
that in other orchestras many players come and go, and that one may not know the
person sitting next to them! Indeed the consistency that prevails in our orchestra is an
important factor in the development of a chamber orchestra which requires a more
intimate awareness between and resonance among its players.
We are truly grateful for your patronage which enables us to work and develop together.
We hope our efforts to bring you special performances are what keep you coming. We
also hope that you will continue to join us as we strive for deeper understanding and
enhanced levels of artistry in the music of Mozart…and More!
Enjoy ….
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Become a Friend
of the Festival
…AND HELP KEEP OUR
Mozart
Marvelous!
The Woodstock Mozart Festival is a world-class musical event that
enjoys an international reputation. Yet it is a “homegrown” effort
that relies on the energy and dedication of volunteers. Right now,
the Festival is looking for a few good friends who can donate three
or four hours of their time to assist us with activities and events.
YES, I’m interested in helping out as a Friend of the
Festival. Please contact me:
Name_________________________________________________
Address _______________________________________________
Phone________________________________________________
Email_________________________________________________
Please send to: Festival Friends
Woodstock Mozart Festival
P.O. Box 734
Woodstock, IL 60098
Thank You!
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We Salute Our
ENCORE CIRCLE MEMBERS
$1,000 or More Contributors
to The Woodstock Mozart Festival
$10,000
Jane and Robert Barkei
$5,000 - $9,999
Louise and Erv LeCoque
AptarGroup Charitable Foundation
MacArthur Fund for Arts and Culture
$2,500 - $4,999
Centegra Health System
City of Woodstock
Gaylord and Dorothy Donnelley Foundation
Home State Bank
Illinois Arts Council
Lynn and Ray Pensinger
Isabel and Mark Shiffer
Marengo Tool and Die Works, Inc.
Mercy Health System
$1,000 - $2,499
Anonymous
Amy and Al Ottens
Laurel and Bruce Armstrong
Mary Ellen and Ed Streit
Linda and Roger Benson
Sonia and Tom Svoboda Verla and Farlin Caufield
Susan and Gilbert Tauck
Vivian Sodini and
Beth and Jim Wester
James Haughton
Anita and Charlie Whalen
Charles Mehlman and
Wells Manufacturing Company
Maija Mizens
Geri and Ron Yonover
The ENCORE CIRCLE is a special recognition association of generous contributors
who have made a gift or pledge of $1,000 or more in a 12-month period.
In recognition of their special commitments,
The Woodstock Mozart Festival Board of Directors thanks these donors.
◆
23 ◆
PROGRAM II
With deepest appreciation
we thank
for underwriting
this weekend’s
performances.
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24 ◆
W OOD STOC K MOZAR T F E ST I V A L
PROGRAM II
Saturday, August 4, 2012 • 8:00 P.M.
Sunday, August 5, 2012 • 3:00 P.M.
Woodstock Opera House
IGOR GRUPPMAN, violinist and conductor
VESNA GRUPPMAN, violin
Concerto in D Minor for Two Violins
and String Orchestra, BWV 1043
I. Vivace
II. Largo, ma non tanto
III. Allegro
Johann Sebastian Bach
Sinfonia No. 9 in C Major for Strings, Swiss
Felix Mendelssohn
I. Grave – Allegro
II. Andante
III. Scherzo – Trio piu lento
IV. Allegro vivace
INTERMISSION
Holberg Suite, Op. 40
I. Prelude
II. Sarabande
III. Gavotte and Musette
IV. Air
V. Rigaudon
Edvard Grieg
Adagietto from Symphony No. 5 in C-sharp Minor Gustav Mahler
Concerto for Two Violins and
Malcolm Arnold
String Orchestra, Op. 77 I. Allegro risoluto
II: Andantino
III. Vivace-Presto
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25 ◆
August 4-5
IGOR GRUPPMAN,
violinist and conductor
Ukrainian violinist Igor Gruppman enjoys a multifaceted career as soloist, conductor, orchestra leader
and chamber musician. Currently he serves as concert
master of the Rotterdam Philharmonic Orchestra,
and in the United States, as Principal Conductor of
the Orchestra at Temple Square in Salt Lake City.
He is invited frequently as guest concert master of
orchestras such as the London Symphony, London’s
Royal Philharmonic, and St. Martin in the Fields; and
as conductor of the Rotterdam Philharmonic and
the Mariinsky Theater Orchestra and Chamber Orchestra. With the Chamber
Orchestra and Mariinsky Stradivari Orchestra, he also appears regularly as violin
soloist and violinist and conductor. Mr. Gruppman has collaborated with and
been influenced by important conductors: George Solti, Valery Gergiev, Mstislav
Rostropovich, Sir Colin Davis, Sir Simon Rattle and Bernard Haitink.
He sometimes shares the podium with Maestro Gergiev, and in 2009, he was invited
by him to conduct the Mariinsky Stradavari Orchestra on a tour of Asia. In that
part of the world, he also has been invited for conducting engagements with the
Tokyo and Seoul Philharmonic Orchestras.
Mr. Gruppman appeared in an all-Mozart program at the De Doelen Great Hall
in Rotterdam where in addition to conducting, he gave the Netherlands premier of
Mozart’s recently reconstructed Concerto for Violin and Piano with pianist Ronald
Brautigam. He has since been asked by the orchestra to conduct his own series of
concerts, and was the conductor of the orchestra’s 2010 and 2011 proms series.
Recently Igor and his wife Vesna premiered Paul van Brugge’s Double Concerto for
Violin and Viola with the Temple Square Orchestra, commissioned by the Dutch
Performing Arts Foundation. The Gergiev Festival of Rotterdam has commissioned
another work by Mr. Brugge for the duo to be performed at the 2012 festival. It will
be a unique work in that it asks both artists to improvise, and it will also use Vesna’s
voice. In 1994 the Gruppman Duo won a Grammy Award for their recording of
Malcolm Arnold’s Concerto for two violins which they will perform as the final
selection of their program in Woodstock.
Continued—
◆
26 ◆
Igor Gruppman’s discography is extensive on the Naxos, Koch, and Video Artist
International labels. He is a graduate of the Moscow Conservatory where he studied
with Leonid Kogan and Mstislav Rostropovich followed by studies with Jasha Heifetz
in Los Angeles. He is now on the faculty of the Rotterdam Conservatory. In 2002,
he and his wife Vesna co-founded the Gruppman International Violin Institute to
select, train and develop careers of exceptionally gifted violinists around the world
using the latest videoconferencing technology.
Mr. Gruppman plays the 1731 “Julles Garcin” Stradivarius violin generously
provided by the Erasmus Foundation.
“Igor Gruppman brought high intensity and powerful emotion from the Mariinsky Stradivarius
Orchestra…the Mariinsky strings played as if their lives depended on it.” ST. PETERSBURG TIMES
◆
27 ◆
August 4-5
VESNA GRUPPMAN,
violin
Vesna Gruppman’s solo career began when she was a
teenager. By the age of sixteen, she had performed as
soloist with several ensembles including the Munich
Chamber Orchestra, the Moscow Philharmonic
and the Prague Philharmonic. She also received the
First Prize at the Jaroslav Koci-n International Violin
competition in Russia and was the first artist to win the
National Violin Competition in her native Yugoslavia
six times in a row.
A graduate of the Moscow Special School of Music, Ms. Gruppman received a
doctorate in performance and pedagogy from the Moscow Conservatory where
she studied with legendary teachers: David Oistrakh, Yuri Yankelevich and Igor
Bezrody. As testimonial to an active performing schedule, Ms. Gruppman has
appeared as soloist and chamber musician with the Dallas Symphony, Edmonton
Symphony, San Diego Symphony, National Philharmonic Orchestra of Ukraine,
the Rotterdam Philharmonic Strings and Mariinsky Orchestra as well as in recitals
at Wigmore Hall and St. John’s Smith Square in London, Hermitage Hall in
Amsterdam, Kiev’s Philharmonic Hall and the Mozart Hall in Prague.
Her solo and chamber music recordings have received generous reviews in
international publications: Gramaphone, American Record Guide, Classical Disc Digest and
The Strad Magazines. In 2009 Video Artists International featured Ms. Gruppman
as a soloist and chamber musician. And in 2010 the Netherlands Performing Arts
Foundation awarded a commission to Vesna and Igor Gruppman for composer Paul
van Brugge’s concerto for Violin, Viola and Orchestra. The premier took place in
March 2011 with the Orchestra at Temple Square in Salt Lake City.
Ms. Gruppman’s 2012 -2013 season will feature recital and chamber music tours of
Asia and the United States and a new DVD release for Video Artists International.
Vesna Gruppman is a professor of Violin and Viola at the Rotterdam Conservatory.
She and her husband Igor are co-founders of the Gruppman International Institute.
“Mesmerizing performance…above the strata of mere virtuoso showcase…gripping sense of
partnership…” – EDMONTON JOURNAL
◆
28 ◆
PROGRAM II NOTES
Notes by Roger Ruggeri © 2012
Johann Sebastian Bach
b. March 21, 1685; Eisenach
d. July 28, 1750; Leipzig
Concerto in D minor for Two Violins and Strings, BWV 1043
The austere liturgy of the court at Anhalt-Cöthen, where J.S. Bach worked from 1717
to 1723, precluded the creation of the religious compositions that were such an integral
part of his expression. During this period, he composed most of his famous instrumental
works, including this sublime concerto grosso for two solo violins.
An inspired work, the concerto’s center of seems to be in the glorious baroque melody
of its middle movement (Largo, ma non tanto), set off by the imaginative counterpoint of
the quickly-paced first movement Vivace and the energetic closing Allegro. “The finale,“
notes David Hall, “is endowed with the motor energy of the opening movement, but the
rhythmic patterns are much more restless and irregular. While the concerto grosso element
in the treatment of soloists and large ensemble is still present here, it seems to partake not
so much of contrast for its own sake, but rather mutual dynamic propulsion toward the
sturdy final pages. As to the relationship of the two solo violins to each other, it may best
be likened to that of a pair of brilliant and witty conversationalists, each elaborating in
vivacious and penetrating fashion on the topic of the moment.”
During Bach’s later years in Leipzig, he transposed this concerto to C minor and formed
the third of his concertos for two solo harpsichords (BWV 1062).
Felix Mendelssohn
b. February 3, 1809; Hamburg
c. November 4, 1847; Leipzig
Sinfonia No. 9 in C major, for Strings (“Swiss”)
Hailed as “one of the most naturally gifted musicians of the 19th-century,” Mendelssohn
was an amazing prodigy; arguably on a par with the young Mozart. Growing up in Berlin,
Mendelssohn had a supportive family and the benefit of fine teachers. At the age of nine, he
made a successful debut as a piano soloist and began writing music at age eleven. Beyond his
musical talents, young Felix also produced “notable drawings and poems.” The gifted lad began
studying theory and composition in 1819 with Carl Friedrich Zelter, who, in 1821, took him to
Weimar to meet his old friend, Goethe. The young Mendelssohn and the old writer-philosopher
(1749-1832) found each other fascinating; they enjoyed discussing a wide range of artistic topics
during five substantial visits between 1821 and 1830. Soon after his first meeting with Goethe,
Mendelssohn began composing in larger forms (concertos, string sinfonias and chamber music).
Continued—
◆
29 ◆
Program II Notes Continued—
Mendelssohn’s thirteen early string sinfonias (No. 8 also exists in a version with winds) do
much to reveal his links with earlier musical traditions. The first six resonate with the Viennese
Classical style; nos. 3 and 4 have contrapuntal moments in the style of Bach and Handel.
For many, the favorite work of these early pieces is the Sinfonia No. 9, which bears the date of March
12, 1823. During the previous summer, the Mendelssohn family took a holiday in Switzerland; the
impressionable Felix recalled some of the folk music that he heard and incorporated it into the trio
section of this sinfonia’s third movement, thus the work’s subtitle “Swiss.”
To Mendelssohn scholar Karl-Heinz Köhler, this work “represents a splendid achievement in
the mastery of the Classical style. A sprightly virtuoso development of a simple and tuneful first
theme determines the course of the first movement (Mozartian antecedents are unmistakable
here), and the fairy-like atmosphere of the overture to A Midsummer Night’s Dream is anticipated in
the scherzo and the finale; the trio of the scherzo is an elaboration of a Swiss folksong.”
Edvard Grieg
b. June 15, 1843; Bergen, Norway
d. September 4, 1907; Bergen
Holberg Suite, Opus 40
Norway’s greatest nationalist-Romantic composer, Grieg rarely used actual folk material;
like Dvorák, his particular gift was an uncanny ability to create original music filled with
the essence of native folk expression.
Rarely deviating from his goal of creating nationalistic music, Grieg became a master of
smaller musical forms. One of the 19th-century’s most distinguished composers of songs,
he was famed for the charming qualities of his incidental music to Peer Gynt, as well as his
Piano Concerto, chamber music and piano music.
In his earlier days, Grieg found it somewhat difficult to compose directly for orchestra;
he would usually compose his thoughts in piano solo form and then orchestrate them.
This was the case even in the present work, actually entitled In Holberg’s Time. Composed
in honor of the bicentenary of Ludvig Holberg (1684-1754), the man celebrated as the
founder of Danish literature, this suite in classic style was written as a piano solo in 1884
and scored for string orchestra in the following year.
Beginning with a vigorously ceremonial Præludium, the work continues with two old
dances, a Sarabande and a Gavotte. A momentary departure from the 17th/18th-century
expression of the other movements, the Air has qualities of a Norwegian folk song.
Another classic dance form, a Rigaudon, brings the suite to a spirited conclusion.
Continued—
◆
30 ◆
Program II Notes Continued—
Gustav Mahler
b. July 7, 1860; Kalischt, Bohemia
d. May 18, 1911; Vienna
Adagietto, from Symphony No. 5 in C-sharp minor
Prominent among the creative pinnacles of the late-romantic era, Mahler’s symphonies are
both masterworks of their genre and mirrors of the composer-conductor’s complex nature.
Essentially infected by self-doubt, Mahler struggled obsessively to find meaning in life through
creativity. He rose to international fame as a conductor through the world of opera, while
spending his summer seasons locked up in feverish composition. At the ultimate expense of his
health, Mahler wrote nine symphonies (a tenth was left unfinished at his death).
Having completed his Fourth Symphony, Mahler resolved to leave his song-oriented
approach and, during the summer of 1901, wrote a large scherzo with French horn
obbligato that would ultimately be the centerpiece of his Symphony No. 5. About the same
time that he was resuming his duties as music director at the Vienna Opera, Mahler met
and fell in love with Alma Schindler (1879-1964). To the surprise of their friends, the pair
married without fanfare on March 9, 1902. After the opera season, they went to spend their
first summer together at Mahler’s rustic retreat in Maiernigg on the Wörthersee; Alma was
left to her own devices as Mahler worked non-stop on the completion of his new symphony.
The original version of the Symphony No. 5 was introduced under the composer’s baton in
Cologne on October 18, 1904. The performance was deemed unsuccessful, but the work
received a nickname, The Giant, because of its enormous orchestration. Amid this mighty
utterance, this Adagietto serves as a serene prelude to the work’s Rondo-Finale. An inspired
stroke for strings and harp, it was once described by the Viennese playwright Hermann
Bahr, as reflecting “a serene cheerfulness which, paradoxically, contained within itself all the
world’s sorrow.”
Sir Malcolm Arnold
b. October 21, 1921; Northampton, England
d. September 23, 2006: Norfolk, England
Concerto for Two Violins and Strings, Opus 77
A thoroughly English musician and composer, Sir Malcolm Arnold won widespread
affection and respect for the creation of music whose wit and charm belied remarkable
technical skill and depth of expression. Born into a musical family, young Malcolm met
Louis Armstrong and soon thereafter took up the trumpet and established a lifelong
interest in jazz. At the age of 16, he won a scholarship to the Royal College of Music and,
in the early 1940s, became a trumpeter in the London Philharmonic Orchestra. Upon
returning from service in World War II, Arnold turned increasingly to composition.
Continued—
◆
31 ◆
Program II Notes Continued—
Perhaps his most widely recognized compositional effort was a memorable score for the
film The Bridge on the River Kwai of 1957. In typical self-deprecating style, he recalled “They
couldn’t find anybody else to do the music in time because they wanted to release it to the
Oscars.” Written in an astonishingly brief ten days, the score won the Academy Award,
making Arnold the first British composer to win an Oscar.
In addition to that most famous of his 132 film scores, Arnold wrote nine symphonies,
16 concerti, five ballets, two concise operas, a large variety of chamber music and many
delightful shorter orchestral works. Arnold was in demand as a conductor and was
granted many honors and degrees, including a knighthood in the New Year Honours List
1993 for his services to music.
Yehudi Menuhin commissioned this appealing concerto for two violins and strings for
the 1962 Bath Festival, where Mehuhin premiered it with co-soloist Alberto Lysy and
Malcolm Arnold conducting on June 24, 1962. The first movement, Allegro risoluto,
contrasts energetic counterpoint with expressive lyricism. The soloists begin and end an
expressive Andantino in charming, unaccompanied dialogue. Dramatic virtuosity abounds
in the all-too-brief final Vivace.
◆
32 ◆
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34 ◆
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35 ◆
PROGRAM III
With deepest gratitude
we recognize...
Louise and Erv LeCoque
Isabel and Mark Schiffer
Marengo
Tool and Die Works
for sponsoring
this weekend’s
concerts.
◆
36 ◆
WOODSTOCK MOZART FESTIVAL
PROGRAM III
Saturday, August 11, 2012 • 8:00 P.M.
Sunday, August 12, 2012 • 3:00 P.M.
Woodstock Opera House
ARTHUR ARNOLD, conductor
ALEX KLEIN, oboe
Symphony No. 1 in D Major,
Op. 3, B. 126
I. Allegro Assai
II. Andante
III. Minuetto
IV. Rondo
Ignaz Pleyel
Concerto in C Major for Oboe
and Orchestra, K. 285d [314]
I. Allegro aperto
II. Adagio non troppo
III. Rondo: Allegretto
Wolfgang Amadeus Mozart
INTERMISSION
Symphony No. 5
Franz Schubert
in B-flat Major, D. 485
I. Allegro
II. Andante con moto
III. Menuetto: Allegro molto
IV. Allegro vivace
◆
37 ◆
August 11-12
ARTHUR
ARNOLD,
conductor
Making his fourth appearance with the Woodstock Mozart Festival, Netherlands
native Arthur Arnold received his early training as a conductor in his home country,
and in 1996, was recipient of the “Prins Bernhard and Graeme Jenkins” award.
This enabled him to study at the Accademia Chigiana in Siena (Italy) with MyungWhum Chung. Next, receipt of the Busenhart Morgan-Evans award allowed him
to receive further guidance from many other important conductors. During this
time he conducted several operas at the Dartington International Summer School of
Music in England.
Arthur Arnold has been the assistant conductor to Hans Vonk, with whom he
worked not only at the St. Louis Symphony but also in Amsterdam, Paris and
Cologne.
Co-founder and Music Director of the Symphony Orchestra Academy of the Pacific,
Canada, he is also Principal Guest Conductor of the Seoul National Symphony
Orchestra and also of the Moscow Symphony Orchestra. He appears with this
orchestra annually at the Concertgebouw in the Netherlands; with the Netherlands
Radio Symphony Orchestra, Arnhem Philharmonic, North Netherlands Orchestra,
Holland Symfonia and Rotterdam Philharmonic. In Canada, he has been a guest
conductor with the Symphony Orchestra and Opera of the Pacific, the Victoria
Symphony and with the Orchestra of the Glenn Gould School of Music. He also
frequently appears in Rumania at the Transylvanian State Philharmonic and Targu
Murews State Philharmonic Orchestras, and in Poland at the Podlasie Orchestra and
Opera.
“Arthur Arnold radiates serenity and natural authority... (he)succeeded to immediately achieve a great
musical tension and thrilling atmosphere. The musical build up was magisterial.”
NRC HANDELSBLAD, Netherlands
◆
38 ◆
August 11-12
ALEX KLEIN,
oboe
Alex Klein began his musical studies in his
native Brazil at the age of nine and made
his solo orchestral debut the following
year. At eleven, he was invited to join
the Camerate Antiqua, one of Brazil’s
foremost chamber ensembles. During his
teenage years, he toured and performed
as a soloist, recitalist and as a member of
several professional orchestras in Brazil.
His two degrees in music performance are
from the Oberlin Conservatory under the
guidance of James Caldwell.
After his first year at Oberlin, Mr. Klein won first prize in the first Lucarelli
International Competition for Solo Oboe Players held at New York’s Carnegie
Hall. He has received many additional awards worldwide, including one at the
1988 International Competition for Musical Performers in Geneva, Switzerland in
which he was the first oboist to be awarded first prize since Heinz Holliger three
decades earlier.
Mr. Klein joined the Chicago Symphony Orchestra as principal oboe in 1995.
He has performed as soloist with the Chicago Symphony, Philadelphia Orchestra,
Orchestra de la Suisse Romande, the Chicago Sinfonietta and at the Woodstock
Mozart Festival in 1997. His recordings are on the Teldec, Boston Records,
Newport Classics, Musical Heritage Society and Cedille Records labels.
Winner of the 2002 Grammy Award for the Best Instrumental Soloist with
Orchestra for his recording of the Richard Strauss Oboe Concerto with the
Chicago Symphony, he left the Symphony two years later due to the onset of
Musician’s Focal Dystonia. He currently performs as soloist and conductor, and
also teaches.
◆
39 ◆
PROGRAM III NOTES
Notes by Roger Ruggeri © 2012
Ignace Joseph Pleyel
b. June 18, 1757; Ruppersthal, Austria
d. November 14, 1831; Paris
Symphony in D major, Opus 3, No. 1, Ben. 126
A remarkable but largely forgotten figure from the Classic era of Haydn and Mozart,
Pleyel grew up in the vicinity of Vienna and, with aristocratic sponsorship, studied
composition with Haydn. Pleyel was enterprising and fertile as a composer, producing
hundreds of works including symphonies, operas, chamber music and masses, as well as
puppet operas and music for hurdy-gurdy. His compositional achievement is all the more
amazing upon realizing that most of his music was written while he was the Kapellmeister
of the Strasbourg Cathedral between 1787 and 1795. Part of his nearly incredible
productivity was involved with his unselfconscious ability to mix, match and transpose
movements, thereby creating new pieces. He was also agreeable to the possibility that any
number of different instruments might perform his concertos. His music has great style
and spirit, but is often too regular and rarely surprising. Nevertheless, it is delightful and
was greatly admired in its day.
Toward the end of his eight-year compositional period, Pleyel spent several years in
England, conducting concerts. This was the same period in which Haydn was triumphing
in England; it’s interesting that the two were always collegial and never rivals. In 1795,
Pleyel moved to Paris, where he opened a music store and founded a music-publishing
house, where Pleyel developed that staple of music students, the affordable miniature
score. He also started a piano factory making instruments with a light action that was
later favored by Chopin.
One of Pleyel’s better-known symphonies, this four-movement Viennese pattern work
dates from 1785 and bears Pleyel scholar Rita Benton’s designation of 126. Beginning
sturdily, the first movement Allegro assai progresses with classic poise. An expressive Andante
and a typically Viennese Minuetto: Allegretto form the middle of the symphony. Remarkably,
the Finale: Rondo: Allegro begins with a theme reminiscent of that in the finale of Mozart’s
Symphony No. 39, a work of 1788, three years after Pleyel’s!
Wolfgang Amadeus Mozart
b. January 27, 1756; Salzburg
d. December 5, 1791; Vienna
Concerto for Oboe and Orchestra in C major, K. 314 (285d)
In Salzburg, sometime between April 1 and September 22 of 1777, Mozart composed the
present concerto for Salzburg’s new oboist, Giuseppe Ferlendis. A work of great charm
and promise, this three-movement concerto has a particularly interesting finale whose
rondo theme remained resonant in Mozart’s mind. In 1782, Mozart used this theme as
Continued—
◆
40 ◆
Program III Notes Continued—
a model for Blonde’s Welche Wonne, welche Lust in the Abduction from the Seraglio, an aria in
which she exuberantly anticipates her rescue by her lover, Pedrillo.
On February 15, 1783, Mozart wrote that his father should send him the music of
this oboe concerto: “…Please send me at once the little book which contains the oboe
concerto I wrote for Ramm, or rather for Ferlendis. Prince Esterházy’s oboist is giving me
three ducats for it, and has offered me six if I will compose a new concerto for him…” (In
the absence of an actual manuscript, for many years this letter was the only solid evidence
that Mozart actually wrote this music as an oboe concerto.)
The venerable Mozart scholar Alfred Einstein writes: “The oboist referred to was
probably Franz Joseph Czerwenka, an excellent player, and two beginnings of oboe
concertos have been preserved that are undoubtedly connected with the reference
in Mozart’s letter, both in F major; a shorter one (K. 416g), and a longer one, of 61
measures (K. 293), of which the former proves to be simply a variant of the entry of
the oboe after the tutti in the latter. Why the work was never finished and Mozart never
received the six ducats we do not know, but we must regret the fact, for the tutti is full of
energy and vitality.”
Later in the autumn of 1777, bursting with plans and potential, the twenty-one year old
Mozart finally slipped the reins of the Archbishop and charged off to seek greener pastures.
With his mother in tow, Mozart went to Munich, Augsburg and finally, Mannheim. Despite
the active and excellent musical life in Mannheim, he found no permanent position. It’s
known that the noted oboist of the Mannheim orchestra, Friedrich Ramm, played five
successful performances of the young man’s new oboe concerto.
While in Mannheim, Mozart bartered lessons in exchange for food and lodging; the
young composer took his meals at the home of Wendling, the flutist of the famed
Mannheim orchestra. On December 10, he wrote to his father: “…The other day I went
to lunch at Wendling’s as usual. ‘Our Indian,’ he said, meaning a Dutchman, a gentleman
of means and a lover of all the sciences, who is a great friend and (admirer) of mine, ‘our
Indian is really a first-rate fellow. He is willing to give you 200 gulden if you will compose
for him three short, simple concertos and a couple of quartets for the flute...’”
Mozart went on to seek his fortune in Paris, “the only place,” he wrote to his father,
“where one can still make money and a great reputation.” Unfortunately, Mozart gained
neither money nor fame. He did, however, write a concerto (G major, K. 313) for the
amateur Dutch flutist, and then, pressed for time, created a second flute concerto (in D
major) by transposing the present oboe concerto. To the general dismay of oboists, this
music is at least as frequently heard in its adapted form. They take some solace in the
fact that the distinguished Austrian conductor Bernhard Paumgartner discovered a set
of orchestra parts for this concerto in the Salzburg Mozarteum archives, thus providing
physical proof that the oboe version was first to be written.
Continued—
◆
41 ◆
Program III Notes Continued—
Franz Schubert
b. January 31, 1797; Vienna
d. November 19, 1828; Vienna
Symphony No. 5 in B-flat major, D. 485
The spare instrumentation of this work reflects the conditions under which Schubert
expected his symphonies to be performed; for they were most immediately written for
the small group of devotees who gathered together in various Viennese homes to play
Schubert’s newest efforts. This particular symphony first sounded with that group in Otto
Hatwig’s home during October of 1816. Hatwig, a composer and violinist who also lead
this reading, undoubtedly congratulated Schubert and urged him to bring more new
music to their next session. Having gained the only satisfaction he would reap from this
project, Schubert went home and placed his new symphony on a shelf, where it remained
until Sir George Grove and Sir Arthur Sullivan rediscovered it in 1867. The first public
performance of the work took place in London on February 1, 1873, but it was not until
the 1930s that it actually entered the standard orchestral repertoire.
The musical materials of this charming symphony are as concise as its instrumentation.
Unlike some of his other symphonies, Schubert devoted little time to the development
of his materials. Noting this, Sir Donald Francis Tovey comments that here Schubert
“relished the prospect of having nothing to do but recapitulate.” Although the work has
Mozartian overtones, its themes bear the stamp of the early romantic expression of the
nineteen-year-old Schubert.
I. Allegro; B-flat major, 4/4. With no more preparation than four measures of woodwind
chords and a gently descending violin line, the first theme is launched. This theme echoes
back and forth between violins and low strings until the flute suggests an inversion of
the melodic motive. The strings begin a soft second theme and are soon joined by the
woodwinds. The development section begins quietly and makes use of the movement’s
introductory descending violin line. Recapitulation of these materials brings the
movement to its vital close.
II. Andante con moto; E-flat major, 6/8. Violins begin a warm, song-like first theme revealing
kinship with earlier themes of Handel and Mozart. The music mounts to an emotional
climax before a final return of the main theme.
III. Menuetto: Allegro molto; G minor, 3/4. Combining the grace of the menuet with the restive
qualities of a scherzo, the movement begins with rising and falling patterns that are then
contrasted by a flowing second section that echoes between high and low strings. Bassoon
joins the violins in the first theme of the trio section; droning low strings help to create the
character of a country dance. True to form, the menuetto returns to close the movement.
IV. Allegro vivace; B-flat major, 2/4. The finale begins with a Haydnesque theme in the
violins. Perhaps because it is played quietly, this bubbling tune seems to give an impression
Continued—
◆
42 ◆
Program III Notes Continued—
of suppressed mirth. Finally, in the twenty-seventh measure, the orchestra bursts out in
its first forte passage. After a short pause, strings begin a lyrically expressive second theme.
Despite the beauty of this idea, the development deals primarily with the first theme.
Triplets give the codetta added impetus to end this symphony with a burst of gaiety.
Alex Klein
(b. 1964)
Choro no Capricho
The redoubtable Brazilian-born oboe virtuoso Alex Klein created this personal
showpiece, in what he calls a “half composition,” by interweaving idiomatic Brazilian
elements with the famed 24th Caprice for solo violin by the legendary Italian virtuoso
Niccolo Paganini (1782-1840). Klein explains: “I first made the arrangement of the
Paganini caprice for oboe instead of violin, then I created an orchestra piece that goes
with it. It not only accompanies the caprice, but also provides interludes, all of them on
Brazilian motifs and melodies.”
Principal Oboe of the Chicago Symphony Orchestra from 1995 to 2004, Klein left
the rigors of orchestra life after developing focal dystonia. He now is active as a soloist,
conductor and Professor of Oboe at his alma mater, the Oberlin Conservatory.
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“I cannot write a verse; I am no poet.
I cannot arrange the parts of speech so artfully
as to produce effects of light and shade; I am no painter.
Not even by signs and gestures can
I express my convictions and thoughts; I am no dancer.
But I can do so in notes;
I am a musician.”
— MOZART
◆
45 ◆
MEET THE MUSICIANS
Roza Borisova, cello
A native of Ioshkar-Ola, Russia, Roza received her B.A. in Music
Performance from the Ioshkar-Ola State Music College and moved
to Moscow where she earned a M.M. in Performance Pedagogy
and a D.M.A. in String Quartet Performance from the Russian
State Academy of Music (formerly Gnesin’s Institute) in Moscow.
In 1989 Roza was selected to be the cellist of the Veronika String
Quartet (newly formed by Valentine Berlinsky, cellist of the Borodin
String Quartet). The Quartet’s international tours resulted in
numerous prizes including the Melbourne International Chamber
Music Competition, the Shostakovich String Quartet Competition, and the Russian
National Competition. As an award of the Shostakovich Competition, in 1993 the Quartet
was invited to study with the Fine Arts Quartet at the University of Wisconsin/Milwaukee,
Wisconsin, and relocated to the U.S. Roza served as Artist-in-Residence and graduate
teaching assistant at various institutions in Wisconsin, Ohio, Illinois, and Colorado and
earned a second M.M. in Music Performance.
As part of the Veronika String Quartet, she performed regularly as cellist with various
symphony orchestras and at many festivals and institutes around the world including the
Steans Institute for Young Artists at Ravinia Festival in Chicago, the Second Jerusalem
Chamber Music Encounters in Israel, the Britten-Pears School of Music in England, and
the Lancaster Music Festival in Ohio. She continues to perform with symphony orchestras
including the Green Bay Symphony Orchestra, and the Woodstock Mozart Festival
Orchestra.
Roza takes pleasure in teaching aspiring cellists and has taught at several major music
institutions in the U.S. Currently she is on the faculty of Lawrence Academy of Music in
Appleton, Wisconsin.
◆
46 ◆
MEET THE MUSICIANS
Gerald Loughney, violin
An active and versatile performer who began his study of violin
at the age of four, Jerry is from Milwaukee where he completed
his Bachelor’s degree in Violin Performance at the University of
Wisconsin. A self-taught Fiddler, he earned five Wisconsin State
Fiddling Champion titles as a teenager. While on tour with the
Milwaukee Youth Symphony Orchestra, he was invited to fiddle
at His Majesty’s Theatre in Aberdeen, Scotland. He has fiddled
with several Bluegrass groups as well as with his own bluegrass
quartet, Above the Town. Their critically acclaimed CD, Uphill Climb,
was released in 2005. On call as a studio musician, Jerry has recorded in many of the area’s
finest studios in many musical styles.
As a classical music soloist, he has performed with the Milwaukee Symphony Orchestra in
the Sibelius Violin Concerto and with other area ensembles. In addition to his association
with Woodstock Mozart Festival orchestra, he is also a member of the Wisconsin
Chamber Orchestra as principal second violinist, the Milwaukee Ballet Orchestra as
assistant concert master, and Elgin Symphony as acting associate concertmaster.
During his career Jerry has toured and recorded extensively with National Country artist
Kevin Sharp and others; performed in the classical genre at the Kennedy Center in
Washington D.C. as well as in Europe, and the British Isles; and maintains an active teaching
studio. He and his wife, Andrea, live with their two children in Wauwatosa, Wisconsin.
“I pay no attention to anybody’s praise or blame…
I simply follow my own feelings.”
– MOZART
COWLIN, CURRAN AND COPPEDGE
Attorneys at Law
20 Grant Street P.O. Box 188
Crystal Lake, Illinois
60039-0188
815-459-5300 • 847-669-3000
◆
47 ◆
WE SALUTE OUR NEW SUPERSUBSCRIBERS!
Those subscribers donating for the first time at $100 or more
Dennis F. Fancsali, M.D.
Jane and Bob Koehler
Lucia and Gerald LaBonte
For this they received….
• A Tour of the Opera House
• A 2012 Season Poster
• A 2011 Festival Highlights CD
• A Rehearsal Pass
We thank them most wholeheartedly!
◆
48 ◆
2012 Mozart Festival
ORCHESTRA PERSONNEL
Flute
Violin II
Robin Fellows
Rachel Handlin
Tracy Jasas-Hardel
Oboe
Catherine Bush
Philip Koch
Pamela Simmons
Andrea Gross Hixon
Erik Leveille
Kris Hurlebaus
Bassoon
Lori Babinec
Viola
Amy Rhodes
Erin Pipal
Amanda Koch
Horn
Rose Armbrust Griffin
Michael Buckwalter
Ellen Gartner
Krystof Pipal
Cello
Harpsichord
Nazar Dzhuryn
Jayne Latva
Michael Beert
Roza Borisova
Harp
Andrew Snow
Ann Lobotzke
Bass
Violin I
Charles Grosz
Karin Kelleher, Concertmaster
Jason Heath
Gerald Loughney
Carol Lahti
Personnel Director and Librarian
Laura Hourt
Lori Babinec
Lisa Fako
Laura Caballero
◆
49 ◆
“After silence,
that which comes nearest
to expressing the inexpressible is music.”
ALDOUS HUXLEY
SOLUTIONS
SOLUTIONS
Physicians Managed
Physicians
Managed
Weight
Loss
Weight
Loss M.D.
RAFAEL
PEREZ GUERRA,
Crest Hills / 815-744-2344
Chicago (2 Locations) 773-735-2100 • 772-276-9355
207 N. Throop
Street
Happy
Birthday
Woodstock, IL 60098
815-338-2255
www.applecreekflowers.com
◆
50 ◆
2012
CORPORATE/FOUNDATION
DONORS
The following corporations and foundations have demonstrated exemplary
leadership to help ensure quality symphonic music in our community.
CONCERT UNDERWRITER
Barkei Family Fund
Jane and Robert Barkei
SPONSOR: $5,000-$9,999
AptarGroup Charitable Foundation
LeCoque Family Trust
MacArthur Fund for Arts & Culture
GUARANTOR: $2,500-$4,999
Centegra Health System
City of Woodstock
Gaylord and Dorothy Donnelley Foundation
Home State Bank
Illinois Arts Council
Marengo Tool and Die Works, Inc.
Mercy Health System
PATRON: $1,000-$2,499
Ronald and Geri Yonover Foundation
Wells Manufacturing Company
BENEFACTOR: $500-$999
American Community Bank & Trust
DONOR: $200-$499
Alexandria House Bed and Breakfast
◆
51 ◆
Supporters of the Festival
2012 Individual Donors
CONCERT
UNDERWRITER: $10,000
Marengo
Jane and Bob Barkei
Benefactor: $500-$999
Crystal Lake
Susan and Harvey Pautz
Fox River Grove
Carol and Frank Svoboda
SPONSOR: $5,000-$9,999
Crystal Lake
Louise and Erv LeCoque
Glen Ellyn
Ann Boisclair and Jeffrey Jens
GUARANTOR: $2,500-$4,999
Woodstock
Lynn and Ray Pensinger
Isabel and Mark Schiffer
Hammond, IN
Ana Rosa and Lorris Tisocco
Huntley
Anonymous
PATRON: $1,000-$2,499
Chicago
Geri and Ron Yonover
Woodstock
Anonymous
Elli and Joe Emmons
Jill B. Hartman
Crystal Lake
Laurel and Bruce Armstrong
Maija Mizens and Charles Mehlman
DONOR: $200-$499
Bellaire, TX
Maryellen Mathews and Tom McSweeny
(In memory of Margaret M. Schlier)
Fox River Grove
Sonia and Lt. Col. Tom Svoboda
Marengo
Susan and Gilbert Tauck
Collegeville, PA
Julie and Chuck Whalen
McHenry
Beth and Jim Wester
Crystal Lake
James Wicklund
Naperville
Anita and Charlie Whalen
Evanston
Polly and Kenneth Rattner
Rockford
Amy and Al Ottens
Grayslake
Ewa Radwanska and John Cullinan
Woodstock
Linda and Roger Benson
Verla and Farlin Caufield
Vivian Sodini and Dr. James Haughton
Mary Ellen and Ed Streit
Huntley
Jean and Jack Ehlebracht
Kirkland, WA
Susan I. Williams
Continued—
◆
52 ◆
Supporters of the Festival
2012 Individual Donors
Jane and William Franz
Susan Labaj
Marian Michaels
Kay and Judge Haskell Pitluck
(in honor of Isabel and Mark Schiffer)
Aniko and Christopher Trent
Lake in the Hills
Marge and Allan Schubring
McHenry
Janet and Allen Kennedy
Spring Grove
Dianne and Ed Halpern
Elgin
Pan J. Demetrakakes
Washington, DC
Joyce and Michael Stern
Geneva
Lori and Bob Everett
Grayslake
Marjorie and Warren Thummel
Wheaton
Carolyn Collins
Woodstock
Norma D. Anderson
Leonard Benson
Gerald Crohn
Esther and Robert Kaplan
Amy Kohn
Catherine and Doug Knuth
Linda and Mark McCormick
RB Thompson
Maria and Dharmvir Verma
Wawanna and Gerson Widoff
Highland Park
Pamela and Richard Leslie
Huntley
Lucia and Gerald LaBonte
Lake Forest
Karl H. Velde, Jr.
Lake Geneva, WI
Joel G. Needleman
INVESTOR: TO $199
Akron, OH
Anastasia M. Kozer
Barrington
Isabel Chang
Mildred and Lowell Johnson
Antonia Meyers
Long Grove
Paul Friedman
Mundelein
Marie Axel
Naperville
Marcia and David Hulan
David Peerenboom
Barrington Hills
Louise M. Flannery
Oak Park
Jean and David Radford
Belvidere
Dennis Fancsali
Crystal Lake
Marlene Boncosky
Mark G. Eckel
Palatine
Theresa and Joseph Auer
Continued—
◆
53 ◆
Supporters of the Festival
2012 Individual Donors
Richmond
Gay and Robert Sven
Susan and Rich Eyre
Barbara Klein
Jane and Bob Koehler
Ann Legg
Caryl and Dan Lemanski
Michael Neese
Marsha and Sherwin Portnoy
Gay Remich
Linda and Walton Rosquist
Skokie
Marsha and Peter Paul
St. Charles
Robert Vander Schaaf
Sycamore
Lisa Parts
Joseph Adler
to commemorate the wedding of Verla & Farlin Caufield)
Marjorie Schupner
Jean and Virgil Smith
to commemorate the wedding of Verla & Farlin Caufield)
Woodstock
Joan Bilderback
Kathlen and Michael Caldwell
Devona and Sidney Edinger
Theresa Szmurlo
Colleen and Tom Thornton
(to commemorate the wedding of Verla & Farlin Caufield)
ALWAYS MORE
THAN YOU EXPECT
The 49th Annual Creative Living Series
Among the longest running non-university lecture
series in the United States
Our season begins at 10 a.m. October 18 with
Laura Claridge, author of “Emily Post: Mistress
of American Manners,” as she dishes about the
surprising history of the woman behind the myth.
On November 15, Matt Lewis & Renato Poliafito
present “Building a Bakery in Brooklyn,” a tale of
the radical ups and downs of chasing a dream – with
a sweet ending, of course.
For details about all six compelling speakers visit
www.woodstockfinearts.org. For tickets, visit, call
or go online to the Woodstock Opera House
Box Office, (815) 338-5300.
◆
54 ◆
SPECIAL
ACKNOWLEDGEMENTS
The Festival’s Board of Directors
wishes to thank the following individuals and organizations
for their gifts-in-kind to the Woodstock Mozart Festival
The Woodstock Opera House staff for their generous assistance
Mark Foss of Foss Piano Service for tuning services
Elisabeth Crisp of Apple Creek Flowers
for Festival floral arrangements
GNT Limousine for providing complimentary travel arrangements
of Mozart Festival soloists and special guests
Best Western of Woodstock for hosting our
Opening Night Gala and our guest artists
Quality Inn of Woodstock for our staff accommodations
Steven Salzbrunn of Krea’tiv Edge for publicity design work
Jack Bechaud, The Social (net) Worker,
for managing our Facebook and Twitter Accounts
Jon Wenzel of Myriad Creative Services for our new web site
Greg Dunham of Lindgren, Callihan, Van Osdol and Co., Ltd.
for our financial audit
Roberta Stewart for her effective grant writing expertise
WNIU for Media Sponsorship
Denise Graff Ponstein of Indepth Graphics and Printing
for creating this year’s program booklet
Marsha Portnoy for her proofreading assistance
◆
55 ◆
The Woodstock Opera House was built in 1889 to house City
Hall, the public library, fire department and a second-floor
auditorium. A production of the play Margery Daw presented
by the Patti Rosa Company provided the inaugural performance
on September 2, 1890 filling the main floor and balcony of the
auditorium to capacity.
The Opera House soon became McHenry County’s center for
entertainment and hospitality with touring vaudeville, minstrel,
and dramatic companies providing diversion after a week’s labor.
Farmers’ wives chatted among themselves in the “parlour” while
their husbands attended market.
When the traveling circuits disappeared, the House became
the site for the Chicago area’s first summer stock theatre.
Produced in 1934 by Roger Hill, headmaster of Woodstock’s
Todd School for Boys, the Shakespeare plays starred his young
student, Orson Welles.
In 1947 the Woodstock Players was formed by citizens and
provided acting experience for students graduating from the
Goodman School. Now-famous personalities Paul Newman, Tom
Bosley, Betsy Palmer, Geraldine Page, Shelley Berman, and Lois
Nettleton were among them.
In 1972 the Opera House was declared a “landmark” by the
city. It was later closed for two years of restoration work. It reopened in February 1977 and was renamed the Woodstock Opera
House Community Center. The Opera House was considered
fully restored with the final addition of the front Portico in 1999.
The building continues to be owned and proudly maintained by
the City of Woodstock and local residents. It features historic furnishings, stained glass windows, tin ceilings, original woodwork
and hand drawn stencil ornamentations.
In 2003 a new annex was completed. It provides disability
access, a freight elevator, back stage areas, offices and the Stage
Left Café. This important addition ensures a new century of performances and an artistic outlet to service the people of McHenry
County and northern Illinois.
◆
56 ◆
The Woodstock Opera House
The Woodstock Opera House is owned and proudly maintained
by the City of Woodstock
as a service to the public.
WOODSTOCK CITY COUNCIL
Dr. Brian Sager, Mayor
COUNCIL MEMBERS
Richard Ahrens, Julie Dillon, Maureen Larson,
Mark Saladin, RB Thompson, Michael Turner
Timothy J. Clifton, City Manager
WOODSTOCK OPERA HOUSE STAFF
Managing Director...........................................................John H. Scharres
Production Manager................................................................David Reeve
Technical Assistant..............................................................Scott Creighton
Building Manager.............................................................. Mark Greenleaf
Office Manager............................................................ Lorraine Steinkamp
Box Office Manager..........................................................Daniel Campbell
Box Office Assistant........................................................... Gerri Granzetto
House Managers............................................................... Debbie Spitzbart
Nancy Canty
Facility and Events Workers
◆
57 ◆
WOODSTOCK MOZART FESTIVAL
2012 Advertisers
L’Eiffel Bistrot
Greg McCoy Glass Studio
Marsha Portnoy, Writer
Martin Johnson Tax & Financial
Mercy Health System
Merrill Lynch
Northern Public Radio
Read Between the Lynes
Rich’s Foxwillow Pines Nursery, Inc
Solutions
Stage Left Café
The Oaks Dental Center
The Players Bench
Thrivent Financial for Lutherans
Wells Fargo Advisors
Wipfli
Woodstock Chamber of Commerce
Woodstock Fine Arts Association
1776 Restaurant
Apple Creek Flowers
Aptar Group
Baxter & Woodman, Inc
Best Western, Woodstock
Bundling Board Inn
Lynn Carlson, Art Appraiser
Celsis International
Centegra Health Systems
Chez Pierre’s Crêperie
Cowlin, Curran & Coppedge
Designs by Maida
Foss Piano Service
Gitlin, Busche & Stetler
GNT Limousine Service
Gummerson Rausch
Wand Lee Wombacher, LLC
La Petite Crêperie & Bistrot
◆
A special note of thanks to all of our advertisers.
We encourage our audience to patronize
these festival supporters.
◆
LIKE us on
“Did you know you can now connect
with the Woodstock Mozart Festival on Facebook?”
That’s right, the Mozart Festival is available online
with photo galleries, articles, and great messages about us.
“Like” us here www.facebook.com/WoodstockMozartFestival
to get updates about the festival.
◆
58 ◆
Luxury
Details
Create custom furniture
Style
Luxury
Details
Meet with a designer
Shop our showroom
Create custom furniture
Meet with a designer
Designs by Maida, Inc.
105 E. Van Buren St.
Designs by Maida, Inc. Woodstock, IL 60098
815.337.2046
105 E. Van Buren St.
Woodstock, IL 60098
www.designsbymaida.com
815.337.2046
www.designsbymaida.com
Designs by Maida, Inc.
105 E. Van Buren St.
Woodstock, IL 60098
815.337.2046
www.designsbymaida.com
◆
59 ◆
“If only I could impress on every music lover’s soul
how inimitable are Mozart’s works,
how musically
intelligent, how extraordinarily sensitive.” – HAYDN
◆
60 ◆
Continue your love
for Mozart & the Festival
all yearlong!
www.mozartfest.org
Fire your computer up....
Go to the “LISTEN” section on the site and enjoy the
fantastic audio highlights of the 2011 season.
Later this fall, we’ll add the 2012 highlights.
Enjoy!!!!
Is your back a major pain?
Have you put off
getting help because
you were not sure
where to go?
Do you need physical
therapy, a chiropractor,
pain management or just
a better exercise routine?
Centegra’s Got Your Back!
Call for an Appointment
847-802-7070
For more information visit
CentegraBackandSpine.org
or scan the QR Code
Centegra
Back and Spine Center
Centegra Health Center - Huntley | 10350 Haligus Road | Huntley, Illinois