Yale Percussion Group to perform Kagel, Xenakis, Jarrett, and Wood

Members of the Yale Percussion Group (YPG) are a tight sextet—personally, professionally, and, most important, musically. The enthusiasm they have for being here at Yale, and for performing the repertoire that showcases their instruments and musicianship—from well-known to new compositions—is clearly reflected in their playing. This year’s Yale Percussion Group concert will feature small chamber works and solo pieces. Kevin Zetina ’20MM, who will be performing in his first YPG concert, explained, “When you work exclusively with five other people for an extended period of time you get to develop together as a unit, rather than as an individual.” Even solo performances by YPG members are imbued with the ensemble’s artistic ethos.

The YPG’s Dec. 8 program will include performances of Mauricio Kagel’s Dressur, Iannis Xenakis’ Rebonds (movement B, arranged for guitar by Manuel Barrueco and performed on marimba), a marimba arrangement of jazz pianist Keith Jarrett’s The Köln Concert (Part IIC, arranged for marimba), and James Wood’s Village Burial with Fire.

Russell Fisher ’20MMA described Dressur, a theatrical percussion work from 1977, as “a truly unique piece of chamber music,” one that constantly toys with audience expectations. Dressur features three performers (Fisher, Arlo Shultis ’20MMA, and YoungKyoung Lee ’19MMA) playing more than 50 wooden instruments, “some conventional, and some unconventional.” With its dramatically choreographed movements and staging, Dressur is as entertaining to the eye as it is to the ear—a goal of the composer, who wrote that his music was “a direct, exaggerated protest against the mechanical reproduction of music” that resulted from music after the 19th century being “reduced to the purely acoustical dimension” thanks to recording technology. “What I want is to bring the audience back to an enjoyment of music with all senses,” Kagel has said.

Rebonds is considered one of Xenakis’s most important and influential works. Shiqi Zhong ’19MM, who will perform movement B of Rebonds—a movement scored for bongos, tumba, tom-tom, bass drum, and five woodblocks—said the piece, composed between 1987 and 1989, is “all about rhythm and time.”

Jisu Jung ’19MM will perform the encore that Jarrett played at a January 1975 concert in Cologne, Germany—a performance that was recorded and released as, simply, The Köln Concert. Jarrett performed the music on a piano with which he was disappointed; Jung will play it on marimba.

Just as Dressur will showcase a YPG trio, so, too, will Wood’s Village Burial with Fire. “I’ll never forget my first time hearing Village Burial with Fire,” Zetina said. “It is safe to say that it changed my life. It is such a powerful piece of music.” The work depicts an ancient Hindu burial ceremony and begins with the performers (Jung, Shultis, and Zetina) chanting and wailing in imitation of villagers communicating with a deceased spirit. When a funeral pyre is lit after a noisy procession to the river, “it seems as though the whole village has exploded into music and dancing—soon, some go into trance,” wrote Wood, who composed Village Burial after a trip to Bali. In its visceral realism, Zetina likened Wood’s musical depiction of a funeral to that of “a field recording, rather than simply a programmatic work.”

The dedication of YPG members to their art is evident. “It is rare for a music group to rehearse only two pieces for four months and eight hours a day,” Zhong said, referring to Dressur and Village Burial with Fire. “Therefore, the level of music-making at each YPG concert is incredible.”

“Performing in YPG is truly an honor,” Fisher said. “I struggle to think of other ensembles that have such an incredible lineage of musicians. To now be a part of this ensemble and legacy is really humbling.”

The Yale Percussion Group, under the direction of Robert van Sice, will perform music by Mauricio Kagel, Iannis Xenakis, Keith Jarrett, and James Wood on Saturday, Dec. 8, at 7:30 p.m., in Morse Recital Hall in Sprague Memorial Hall. The concert is free and open to the public.

Published December 4, 2018
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Melvin Chen to perform piano arrangements of orchestral works

Melvin Chen, faculty pianist and Deputy Dean

Melvin Chen

Faculty pianist and Deputy Dean Melvin Chen’s 2018 Horowitz Piano Series recital program features Otto Singer II’s solo piano arrangement of Brahms’ Third Symphony, Sibelius’ piano arrangements of his Finlandia and Valse Triste, and Ravel’s Valses nobles et sentimentales. We spoke with Prof. Chen, whose background includes piano and violin studies, about the repertoire and his recital preparation.

Q: How did you arrive at a program of piano arrangements (with the exception of the Ravel)?

A: I’ve always loved orchestral music—when I was playing the violin, one of my favorite things to do was to play in an orchestra. So while I’m almost always a pianist now, my love of orchestral music hasn’t diminished, and this is my way of staying in touch with the orchestral repertoire as a performer.

Q: What are some of the more challenging aspects of these arrangements? 

A: The Sibelius pieces feature music that is quite direct and powerful, although in different ways, so the piano arrangements retain those qualities. The Brahms is a different beast—the textures are thick and contrapuntal, so I find it quite difficult to handle on the piano, not just physically, but also mentally.

Q: Has your approach to practicing changed at all as a result of playing piano arrangements of orchestral music?

A: Of course when one plays orchestral arrangements, you can’t get the original instruments out of your head. So it informs the way I practice these pieces, and stretches my technique. For example, how can I create the legato of the strings, or illustrate the differences in timbres of each of the wind instruments?

Q: What do these arrangements tell us about the compositions—that is, what do they reveal that we might not hear the same way in orchestral performances?

A: Because of the nature of the piano, these works, especially the Brahms, are revealed in a more skeletal way. I think it’s easier to hear the large scale structures.  Also, because there is only one person playing, there are expressive possibilities that can be realized in a way that might be impossible for an orchestra to achieve.

Q: Ravel orchestrated his Valses nobles et sentimentales a year after the work had its premiere as a piano collection. Has the composer’s orchestral arrangement informed your approach to the original?

A: Ravel was such a master of orchestration that knowing how he orchestrated each waltz gives you a clear idea of what he was thinking about the color and mood he was going for. In a way, a pianist can feel like he is receiving a coaching from Ravel!

Q: What would you want the audience to know about the program before listening to it?

A: I’m interested in thinking about the purpose of these arrangements. There are mundane reasons why someone would make a piano transcription of an orchestral piece—it was a way of getting to hear new works before there was technology like the CD or Spotify. But for the audience, does hearing a piano transcription change the way you hear the orchestral piece? In the case of the Ravel, was there something missing from the piano version that prompted him to want to orchestrate it?

Faculty pianist and Deputy Dean Melvin Chen performs Otto Singer II’s arrangement of Brahms’ Symphony No. 3, along with works by Sibelius and Ravel, on Wednesday, Nov. 28, at 7:30 p.m., in Morse Recital Hall.

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Published November 26, 2018
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Oundjian explores “Also sprach Zarathustra” with Nietzsche expert

Karsten Harries, left, and Peter Oundjian

Peter Oundjian has conducted Strauss’ Also sprach Zarathustra many times. Never, though, has he dived so deep into Nietzsche’s text, which inspired the tone poem. “It’s a very rare thing to have the opportunity to speak with someone who’s lived with Nietzsche your entire life,” he said to Karsten Harries on Saturday, during a discussion at Harries’ Hamden home. Harries, the recently retired Howard H. Newman Professor of Philosophy at Yale (Harries is also a Yale alumnus and now Professor Emeritus), taught courses on Nietzsche, among others, and on the philosophy of art and architecture. He is also impressively well-versed in music.

In program notes for the work’s 1896 premiere in Frankfurt, Strauss wrote: “I did not intend to write philosophical music or to portray in music Nietzsche’s great work.”

“He chose which passages would suit his tone poem,” Oundjian, Principal Conductor of the Yale Philharmonia, said, paging through his score.

“There is a clear intellectual progression,” Harries said, a German-language copy of Nietzsche’s text in-hand. “He bends the Nietzsche text to his own ends.” Strauss, Harries pointed out, studied philosophy, aesthetics, and art history in Munich.

With a performance of Also sprach Zarathustra playing, Oundjian and Harries analyzed the music alongside Nietzsche’s text, discussing the notion of eternal recurrence—the idea that “time is a circle,” Harries said, paraphrasing from Zarathustra—and other elements of Nietzsche’s autobiographical narrative.

“It sounds completely like Wagner,” Oundjian said of the second section (“Von den Hinterweltlern”) of Strauss’ tone poem.

“Strauss is looking back,” knowing he has to distance himself from that, Harries said. “He thinks of Wagner as the Hinterweltlern (the “backworld”).” Similarly, Harries said, “Nietzsche clearly struggles with his proximity to Wagner.”

Just as the past is reflected in Strauss’ Zarathustra, the present and the future, and the conflict inherent in living with both in mind, is of importance in both Strauss’ and Nietzsche’s work. “To be human is to be open to the future,” Harries said. Joy, though, is only available in the present. To be human is also to engage with “the rabble,” he said, referring to Zarathustra’s descent from the mountaintop. Nietzsche’s famous line “God is dead” marks Zarathustra’s arrival at humanity.

As the recorded performance of Zarathustra arrived at “Das Tanzlied,” Harries gave Oundjian something to think about. While the music seems to offer a nod to the waltzes of Johann Strauss II (no relation), Harries dismissed that analysis. “I see very much the alpine element and the beer-hall element,” he said. Decades before he composed Zarathustra, Richard Strauss’ Alpine Symphony had captured his fascination with the mountains. As for beer, Strauss’ mother, Josephine, was part of the Pschorr (now Hacker-Pschorr) beer-making family in Munich. Oundjian hadn’t made those connections. Harries’ opinion, Oundjian said, was a “complete enlightenment for me.”

As the recorded performance came to an end, Oundjian, conducting the music (something Harries had said seemed a difficult undertaking), remarked, noting Strauss’ harmonic manipulations, “He can’t resist being a genius.”

Earlier in the conversation, Oundjian had asked Harries, somewhat rhetorically and pointing to the Zarathustra text, “Is it possible that he could express all this musically?”

“I would argue that he was a very astute reader of Nietzsche,” Harries said.

Principal Conductor Peter Oundjian leads the Yale Philharmonia in a performance of Strauss’ Nietzsche-inspired tone poem, Also sprach Zarathustra, and Brahms’ Piano Concerto No. 1 in D minor, Op. 15, with Woolsey Hall Concerto Competition winner Sophiko Simsive ’18MM ’19MMA, on Thursday, Nov. 15, in Woolsey Hall.

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Published November 12, 2018
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Pianist Sophiko Simsive ’18MM ’19MMA, on performing with the Yale Philharmonia

Sophiko Simsive. Photo by Marco Broggreve

Asked about Brahms’ First Piano Concerto, which she will perform with the Yale Philharmonia on Thursday, Nov. 15, Sophiko Simsive ’18MM ’19MMA does not get into musical details. “I’ve been trying to think in a more abstract way,” she said, explaining, “I like to relate to pieces on a personal level.” Simsive described herself as “a musician that always tries to identify the emotion in a piece” and wants the audience to feel that though her performance. “I feel very strongly about this piece,” she said. “I want to bring out my personality and I’m trying to bring out the story I’m trying to tell with it.”

While Simsive has long been familiar with the concerto, it was not until she played a piano arrangement of the orchestra part, for a March 2017 recital here at YSM by Dong Won Lee ’18MM, that she started “thinking deep and really getting my hands on” the piece.

Just hours removed from her first rehearsal with the Philharmonia, Simsive said, “I feel very much part of the orchestra.” Thursday’s concert in Woolsey Hall, she said, will be a high point of her time here at Yale, largely because she will be performing alongside colleagues. “I feel completely like I’m playing at home,” she said.

At the first rehearsal, Simsive said a few words to members of the Philharmonia. “I felt so grateful for the opportunity to play with the Yale Philharmonia. I wanted to let them know that for me it felt like playing chamber music with each and every one of them.” Simsive has worked with many musicians in the YSM community and pointed out that she played piano, celeste, and organ as a member of the Philharmonia in September.

As the soloist on Thursday’s concert, Simsive is looking forward to sharing a bit of herself with the Woolsey Hall audience. “I can tell a lot of different stories,” she said, “but they have to feel something—and that something is my life at Yale.”

Woolsey Hall Concerto Competition winner Sophiko Simsive ’18MM ’19MMA will perform Brahms’ Piano Concerto No. 1 in D minor, Op. 15, with the Yale Philharmonia on Thursday, Nov. 15, at 7:30 p.m., in Woolsey Hall. The program also includes Strauss’ Also sprach Zarathustra.

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Published November 12, 2018
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Yale percussionists prepare for “Symphonie fantastique”

Left to right: YoungKyoung Lee, Russell Fisher, and Jisu Jung

Just a few hours before guest conductor Jean-Marie Zeitouni arrived on campus to start rehearsing the Yale Philharmonia for Friday’s concert in Woolsey Hall, the orchestra’s percussion section played through several passages of Berlioz’s Symphonie fantastique. The work, a wildly imaginative piece of program music that calls for a giant ensemble including four timpanists (in the third movement, specifically), will close Friday’s program and introduce concertgoers who are unfamiliar with Berlioz’s score to the heights of the composer’s creativity and the brilliance of his orchestration.

“We can’t help but remind ourselves to be sticking with the story of the music or how Berlioz was while he was writing this piece,” percussionist Jisu Jung ’19MM said.

The program notes (by Liam Viney, ed. Aaron Levin) for Friday’s performance explain: “In the printed program of the first performance, Berlioz provided an outline of the plot: the love-sick hero (presumably himself) is plagued by images of his beloved and troubled by a spiritual sickness. He … is constantly visited by his beloved’s image, accompanied by extreme emotional reactions. Eventually, disillusionment sets in during the third movement, and he poisons himself with opium to assuage the anguish of his unrequited love. Delirium sets in, and he descends into the horrific dream world of the fourth and fifth movements.”

In Berlioz’s Treatise on Instrumentation and Modern Orchestration, percussionist Russell Fisher ’20MMA said, the composer “describes different instruments, he describes also the emotional responses that go along with them. You can really see that in this piece in particular.” And, Jung, said, “You can see how detailed he was when he was writing this.” Fisher added, “There’s very little left up to interpretation.”

“He even suggests sticking,” percussionist YoungKyoung Lee ’19MMA pointed out, which is “really rare, especially at this time.” Symphonie fantastique was composed and premiered in 1830, revised thereafter, and published in 1845.

As they rehearsed the timpani parts in the fourth movement (“March to the Scaffold”), percussionist Arlo Shultis ’20MMA offered, “YoungKyoung’s part and mine are so interlocked. Since I’m playing second timpani, I’m really watching her and watching the conductor, as well.” Shultis and Lee are using similar mallets and the same stickings.

With equal attention to time, sound, and consistency, Fisher and Jung ran through their bass-drum parts in the fifth movement (“Dream of the Witches’ Sabbath”), Fisher executing crescendos and Jung providing attack and decrescendos, with percussionist Kevin Zetina ’20MM playing the chimes. Discussion was had about dynamics, or course, though those will largely be up to Zeitouni, and, to a degree, to Woolsey Hall. That Zeitouni trained as a percussionist will likely factor in to how extreme those dynamics will get. “Our goal,” Jung joked, “is: Play until you get the hand,” the hand being a conductor’s “that’s too much” signal.

Returning to a more serious note, Jung said she and her colleagues (including Shiqi Zhong ’19MM, who doesn’t play on the Berlioz) are “very, very tight.” They bring the skills required of outstanding chamber musicians to the Philharmonia. “We just develop this huge trust in each other,” Fisher said.

Jean-Marie Zeitouni leads the Yale Philharmonia in a performance of Berlioz’s Symphonie fantastique and music by Saint-Saëns and Debussy on Friday, Oct. 26.

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Published October 23, 2018
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Marin Alsop to lead Yale Philharmonia in program of Bernstein, Beethoven

Marin Alsop. Photo by Adriane White

Yale Philharmonia Principal Conductor Peter Oundjian has described Marin Alsop as “one of the greatest conductors of her generation.” A 2005 MacArthur Fellowship (“Genius Grant”) recipient, Alsop has served since 2007 as the music director of the Baltimore Symphony Orchestra. She has also led the Bournemouth Symphony Orchestra and São Paulo Symphony Orchestra and has appeared with many of the world’s most celebrated ensembles. Alsop was recently appointed chief conductor of the Vienna Radio Symphony Orchestra, the latest in a series of “firsts” as a woman conductor.

“I’m very honoured to be the first, but I’m also rather shocked that we can be in this year, in this century, and there can still be ‘firsts’ for women,” Alsop told The Guardian. She made similar comments, at greater length, at the final concert of the 2013 BBC Proms.

Eager to see others succeed as she has, Alsop established the Taki Concordia Conducting Fellowship, which helps prepare women conductors for work on the podium and in offstage leadership areas, and the Baltimore Symphony Orchestra’s OrchKids program, which was “designed to create social change and nurture promising futures for youth in Baltimore City neighborhoods,” according to the organization’s website.

Alsop has not been shy about using her position in the music world to point out inequities. Her social activism was inspired in part by her mentor, the late Leonard Bernstein, whose 100th birthday, which falls on August 25, the performing arts community has been celebrating.

“He was a very generous human being who believed in access and inclusion and equity for all people,” Alsop said of Bernstein, with whom she studied at Tanglewood. That legacy, she said, “inspires me to try to use the opportunities I have to create a more just landscape for people.”

On Friday, April 20, Alsop will lead the Yale Philharmonia, Yale Glee Club, and Yale Camerata in a performance of Beethoven’s monumental Ninth Symphony, on a program that also includes Bernstein’s Opening Prayer and Chichester Psalms. Beethoven’s Ninth, she said, “was a critical piece for Bernstein,” one that represented possibility and hope. It’s a piece he famously conducted in Berlin, just after the fall of the Berlin Wall, in a performance that featured musicians from East and West Germany, Britain, France, the Soviet Union, and the United States. It was the hope that Bernstein found in Beethoven’s Ninth Symphony that Alsop is eager to celebrate, along with Bernstein’s birthday and his music.

In addition to Bernstein’s Opening Prayer, which was composed for the 1986 reopening of Carnegie Hall and eventually became part of his Concerto for Orchestra, the April 20 Yale Philharmonia program includes Chichester Psalms. Like Beethoven’s Ninth, Alsop said, Chichester Psalms is “a piece about hope and possibility.”

Having worked closely with Bernstein certainly informs Alsop’s performances of his music. “Knowing a composer as a human being gives us that added dimension, that added insight” into the motivation for writing a piece, she said. It is her responsibility, and the Philharmonia’s, to tell the music’s story. And that’s the same wherever she’s conducting. “I approach every orchestra as professional musicians whom I respect,” she said. While more might be expected of her, in terms of providing insight or direction, from a younger orchestra than from a veteran ensemble, “I don’t think about it any differently.”

On Wednesday, April 18, Alsop will join School of Music Dean Robert Blocker for a conversation about Leonard Bernstein’s legacy and music, the pursuit of diversity in our field, Beethoven’s revolutionary Ninth Symphony, and working with the next generation of orchestral musicians.

On Friday, April 20, guest conductor Marin Alsop will lead the Yale Philharmonia, Yale Glee Club, and Yale Camerata in a performance of Beethoven’s Ninth Symphony, on a program that also includes Bernstein’s Opening Prayer and Chichester Psalms.

A CONVERSATION WITH MARIN ALSOP
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Published April 13, 2018
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Winners of 2018 Woolsey Hall Concerto Competition announced

The 2018 Woolsey Hall Concerto Competition took place on Sunday, April 8. This year’s competition yielded three winners: tubist Jacob Fewx ’18MM, who performed Arild Plau’s Concerto for Tuba and Strings; pianist Sophiko Simsive ’18MM, who performed Johannes Brahms’ Piano Concerto No. 1 in D minor, Op. 15; and flutist Jungah Yoon ’19MM who performed Carl Reinecke’s Flute Concerto in D major, Op. 283. As winners, these students will perform with the Yale Philharmonia during the 2018-19 season. Cellist Samuel DeCaprio ’18MMA was selected as an alternate, and violinist Ariel Horowitz ’19MM received an honorable mention.

The judges were violinist Solomiya Ivakhiv, who serves as assistant professor of violin and viola and coordinator of strings at the University of Connecticut, André-Michel Schub, who is on the piano and chamber music faculty at the Manhattan School of Music, and New York Philharmonic bass trombonist George Curran, who is a faculty member at Rutgers University and the Manhattan School of Music.

We congratulate our outstanding students and look forward to hearing them perform next season with the Yale Philharmonia.

Published April 9, 2018
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Yale Philharmonia Principal Conductor Peter Oundjian on Mahler’s Ninth Symphony

Peter Oundjian. Photo by Sian Richards

On Friday, April 6, the Yale Philharmonia will perform Mahler’s Ninth Symphony in Woolsey Hall. We spoke with Principal Conductor Peter Oundjian about the piece and the context in which it was composed.

Q: What is worth thinking about as an audience member listening to Mahler’s Ninth Symphony?

A: One thing that is pretty clear is that it has so much finality in it. Maybe we can even think of it as the final statement in what we might call the traditional language of classical music. This idea that it’s almost a prophecy of what’s to come is I think essential to understanding and listening to the Ninth Symphony of Mahler. He’s (also) taking you on a journey of contradiction, which is so important to Mahler’s whole world, because he had so many areas in which he was conflicted. Is he a conductor? Is he a composer? Is he cosmopolitan? Is he provincial? All these things tore him apart his whole life. His religion and hiding the fact that he was Jewish — so many things created this feeling of enormous conflict inside him. And so I think that in some ways the Ninth Symphony doesn’t need so much explaining, because it’s so accessible at the beginning and you realize that you are in between a kind of sense of fear and terror and great tenderness, and that it is a struggle to understand the meaning of life and the meaning of love, particularly.

Q: What is the story of this piece?

A: There’s a lot of death that is referred to in this music, and there’s very good reason for that. In his own personal situation, the fact that he’d just lost his daughter. The fact that he had this heart arrhythmia — there’s kind of a description of that uneven heartbeat at the opening. So there’s all of that, but there is also this death that a lot of people talk about, which is that tonality was ending and Mahler knew it.

Q: To what degree do you work with the members of the Philharmonia to get on the same page about the history and background of the work? 

A: I approach this a little bit like a director approaches a play. I think that they should come with some understanding of their role and certainly with the ability to play it. Part of what I enjoy (about) working with these wonderfully talented students is to engage them in discussion (about) the concepts and the philosophies behind it and the history and particularly that moment in Mahler’s life and how special it was.

Q: What are the challenges that an ensemble faces with this piece?

A: What we have to do is apply an incredible discipline to be able to play together while also allowing ourselves to have extremely spontaneous energy. That’s one of the things I value most about being on stage, that this is the moment and we’re going to lay it all out there. It doesn’t mean we lose discipline, but we take an enormous amount of risk. And that can be risk of great virtuosity and the risk of making yourself extremely open and vulnerable to very profound and tragic kind of feelings, which will only be projected into the concert hall and shared with our public if we all are in touch with those feelings.

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Published March 28, 2018
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Ignat Solzhenitsyn, on “Firebird” and working with young musicians

Ignat Solzhenitsyn

Principal conductor Peter Oundjian has said that guest conductor Ignat Solzhenitsyn, who’ll lead the Yale Philharmonia in a performance of Stravinsky’s Firebird Suite (1919 version, from the composer’s ballet score) on Friday, Jan. 26, “particularly wanted to do this piece with our students.” Solzhenitsyn recently pointed out that it’s “one of the very, very greatest orchestral paintings in our repertoire and a piece that, of course, is predicated upon the limitlessness of imagination.” Imagination, Solzhenitsyn said, is most fertile and open to influence during one’s youth. The Firebird Suite “is really a piece that, more than anything, is for young people,” he said. “It will showcase the Yale Philharmonia to beautiful effect.” The orchestra, in turn, will provide a capable vehicle for the stuff of Stravinsky’s imagination — and for the Russian legend that the composer explored — which will no doubt inspire the Woolsey Hall audience, just as it has long captivated audiences around the world.

With Solzhenitsyn, who serves as principal guest conductor of the Moscow Symphony Orchestra and conductor laureate of the Chamber Orchestra of Philadelphia, the Yale Philharmonia will also perform Paganini’s Sonata per la Grand Viola, with 2017 Woolsey Hall Concerto Competition winner Josip Kvetek ’18MM, and Franck’s Symphony in D minor. Kvetek recently said that the Paganini is “not standard repertoire for the viola,” and that while it’s “very simple, harmonically and melodically,” it’s not a piece that on its own tells “one coherent story.”

“The part that helps with that,” Kvetek said, “is it’s very operatic.” Kvetek “nailed it,” Solzhenitsyn agreed, saying the Paganini is a show piece, one that’s very difficult for the soloist. What makes it fun, Solzhenitsyn said, is the very notion that Paganini, a virtuoso violinist, produced such a piece for the viola. “Charm, wit, teasing, easy grace — those kind of words inform this work,” he said.

Asked about the Franck being a piece that’s gone in and out of favor with orchestras, Solzhenitsyn bristled. “It’s a concept I still have trouble wrapping my head around,” he said, pointing to the obvious fact that “the intrinsic worth of ‘X’ has nothing to do with if it’s popular or not, or has very little to do with it.” He’s among those who don’t understand why the Franck symphony is not performed more frequently, give that it is, undeniably, a “touchstone of the Romantic symphonic repertoire.”

“The beauty, the power, the innocence, the honesty of this music, I think, speaks for itself,” Solzhenitsyn said.

Seeing Solzhenitsyn on the podium will be a new experience for members of the Philharmonia. And working with Yale students, for Solzhenitsyn, will present a different opportunity than the experiences he’s had leading ensembles of more seasoned musicians. A collective sense of wonder and discovery that is at times diminished in a professional ensemble, he said, is right there, in all its glory, for everyone to see in a young ensemble.

On Friday, Jan. 26, guest conductor Ignat Solzhenitsyn leads the Yale Philharmonia in a program that includes Stravinsky’s spellbinding Firebird Suite (1919 version), Paganini’s Sonata per la Grand Viola, with 2017 Woolsey Hall Concerto Competition winner Josip Kvetek ’18MM, and Franck’s inventive and affecting Symphony in D minor.

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Published January 17, 2018
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Schumann course culminates in performance

Prof. Michael Friedmann

School of Music Prof. Michael Friedmann’s course Schumann’s Chamber Music: Performance and Analysis, which is open by audition to instrumentalists studying at the School of Music and at Yale College, focuses on combining analytical research with practical performance issues. The class culminates in a performance of what Friedmann describes as “a precious and surprisingly undervalued body of repertoire.”

Friedmann, Professor of Musicology and Theory at the Yale School of Music, specializes in the music of Schoenberg, Schumann, and Beethoven, analysis of post-tonal music, ear training, and chamber music coaching. He received a special citation from the Society of Music Theory for his 1990 book Ear Training for 20th-century Music (Yale University Press).

“My approach links analysis to performance,” Friedmann said, “because performers usually rush to get performances ready without the opportunity to make genuine contact with all dimensions of the phrase structure, relation of tonal design and thematic form, and motivic interaction. They also learn how to distinguish the principal elements from countersubjects or other secondary elements. Moreover, a refined awareness of emotional content, and mercurial shifts of emotional ‘topic,’ which directly affect sound and pacing, is often bypassed in favor of a monolithic rendering of the notes.”

Friedmann concentrates on Schumann’s chamber music because “students may not immediately get the opportunity to play this repertoire as they would comparable music of Brahms, Beethoven, and others.”

This year’s concert, which is scheduled to take place on Dec. 12, at 7:30 pm at the Whitney Humanities Center, will feature performances of Schumann’s Märchenerzählungen, Op.132; Piano Trio No. 3 in G minor, Op. 110; Violin Sonata No. 1 in A minor, Op. 105; and Piano Trio No. 2 in F major, Op. 80.

Published December 12, 2017
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