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2014-2015 SEASON
CELEBRATING 40 YEARS OF MUSIC
ARTISTRY AND COMMUNITY IN CONCERT
LIVING PRESENCE
March 22, 2015
CAMBRIDGE
SYM H NY
ORCHESTRA
cynthia woods music director
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We’re here
because you’re here.
Cambridge Trust is a proud sponsor of
the Cambridge Symphony Orchestra.
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CAMBRIDGE SYMPHONY ORCHESTRA
Celebrating 40 Years of Music
Cynthia Woods, Music Director
Lina Marcela Gonzalez, Assistant Conductor
Board of Directors
Josh Garstka, President
Abe Dewing, Vice President, Marketing
Robert Berens, Secretary
Tom Engeln, Treasurer
Rachel Spiller, Co-Founder, Development Chair
Brian Bunnell, Logistics Chair
Christopher Carter
Eron Hackshaw
Andrew Leeson
Emily Richmond Pollock
e.
Ellen Newell, Board Member Emeritus
Carol Thomas, Board Member Emeritus
William Yates, Advisory Board Member
Additional Staff
Adam Mauskapf, Personnel Manager
Audrey Dunne, Librarian
Heather Classen, Lead Designer
Cover photo courtesy Susan Wilson.
If you enjoyed this afternoon,
we hope you’ll celebrate our 40th birthday
with us at our final Masterworks concert:
THE NEW WORLD
Saturday, May 16, 2015 at 8 p.m.
The Center for Arts at the Armory
com
MOZART Overture to The Magic Flute
DVORAK
Symphony No. 9 (From the New World)
ELGAR
Enigma Variations
Spotlighting the work of Somerville Homeless Coalition in our community.
See the rest of our 40th season
at cambridgesymphony.org.
01,+
3
FDIC
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Cynthia Woods, Music Director
© Susan Wilson
“The final offering, Bela Bartok’s Concerto for Orchestra, was... Cynthia Woods’s
time in the sun.” Basil Considine, Boston Musical Intelligencer, Nov. 11, 2013
Hailed as a conductor with “gusto and exuberance” (Jim McDonald, Boston Musical
Intelligencer) whose performances have “dynamic and immersing” outcomes (John Galigour,
Sun Valley News), and recognized for her “intelligent and out of the ordinary programming”
(Vance Koven, Boston Musical Intelligencer), Ms. Woods has become a recognized and
respected conductor in the Boston community and beyond. The Music Director for the
Cambridge Symphony Orchestra, Ms. Woods is also a frequent guest conductor, having
performed across the U.S., Europe, and South America.
Ms. Woods began her conducting career with a literal bang, making her debut with
Stravinsky’s iconic masterwork The Rite of Spring and the massive 118-piece Worcester
Consortium Orchestra. Since then she has gone on to a successful career, winning acclaim
in all idioms, including opera, choral, chamber, and symphonic orchestra. While she is
profoundly committed to new music—she has collaborated with some of today’s most
respected living composers, such as Joan Tower, Lisa Bielawa and Harold Farberman—she
is also known for her interpretations of the great masters.Most recently, she served as the
Music Director for a new documentary from Oscar-winning director Morgan Neville (20 Feet
from Stardom).
Along with her conducting activities, Ms. Woods is also a frequent speaker and writer. She
has been a guest lecturer at institutions such as MIT and the Longy School of Music of
Bard College, a panelist for radio shows such as WGBH’s Callie Crossley, and a frequent
contributor to The Boston Herald’s State of the Arts blog.
Ms. Woods began her musical studies as a violinist, focusing heavily on chamber music.
Her undergraduate quartet scholarship at the University of Colorado Boulder allowed her
to study side by side with the Grammy award-winning Takács Quartet. Additional work
with members of the celebrated Muir and Stanford String Quartets followed. Eventually
she turned her attention to the podium, earning an M.M. and Artist Diploma from the
Hartt School of Music, where she was the recipient of the Dean’s Talent Scholarship Award
for the duration of her study there. Along with her conducting and violin studies she was
awarded a full fellowship to study composition at the Atlantic Center for the Arts. In addition
to her current roles as Music Director and guest conductor, Ms. Woods also serves on the
conducting and violin faculty of New England Conservatory’s Department of Preparatory
and Continuing Studies.
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Members of the Orchestra
FIRST VIOLINS
Jacob Bergmann
Zidi Chen
Josh Garstka
Adriana Heredia
Sarah Izen
Stan Mah
Cat Powell
Divya Srinivasan
Nina Slywotsky*
Camille Yongue
SECOND VIOLINS
Patricia Bass
Lydia Beall
Irene Brockman
Heather Classen
Ruth Jeka
Rebecca Kreipke
Virginia Love
Jennifer Lyons
Lane Marder
Tadhg Pearson
Sarah Perkins
Miriam Raffeld
Erica Siegel*
Vitaliy Slobotskoy
Leo Torrente
Albert Trithart
VIOLAS
Emily Breitbart
Brendan Banerdt
Jeff Bezanson
Philip Collier
Kim Etingoff
Kaitlin Holman
Kirsten Peltz
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Anna Perko
Molly Shira*
CELLOS
Audrey Dunne
April Greene-Colozzi
Joanna Jerison
Erica Kung
Katherine Miller
Christopher Moriarty
Drew Olsen
Nick Pittman
Robert Powell
Joydita Sarkar*
David Tresner-Kirsch
Shana Wang
BASSES
Troy Harvey*
Dave Shrake
FLUTES
Ellen Newell
Elizabeth Petri-Henske
Carol Thomas
OBOES
Carolyn Hayes
M. Patrick Kane
Emily Richmond Pollock
CLARINETS
Expedito Almeida
Pierre-Alexis Deneux
Allison Eck
BASSOONS
Adam Fouse
Will Gorman
Rachel Spiller
HORNS
Robert Berens
John-Morgan Bush
Adam Mauskapf
Emily Schon
Dan Severson
Charles Telfer Williams
TRUMPETS
Brian Bunnell
Rebecca Cherry
Andy Cormier
Lars Johnsen
Dan Stringer
TROMBONES
Jelly Chan
Nicole Irwin
Benjamin Miller
Andy Pollock
Ryan Shofnos
TUBA
Bill Whitney
PERCUSSION
Danielle Fortner
Douglas Jacobs
Natalie Shelton
ORGAN
Jim Overly
PIANO
Dan Rodriguez
HARP
Catie Canale
*Section leader
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Cambridge Music Consortium
Skilled Independent Instructors
High quality musical training
In the heart of Cambridge
CMC has a dynamic and passionate team of teachers,
offering lessons, chamber music, recitals,
master classes and workshops.
Contact us today about studying at CMC!
315 Broadway, Cambridge, MA 02139 www.cmclessons.com
All the world's a stage
See the sets
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m
Celebrating 40 years of music, 1975-2015.
LIVING PRESENCE
Sunday, March 22, 2015, 4 p.m.
Kresge Auditorium, MIT
SPOTLIGHT PARTNER TARGETCANCER FOUNDATION
DUKAS
Fanfare from La Péri
RESPIGHI
Pines of Rome
The Pines of the Villa Borghese
Pines near a Catacomb
The Pines of the Janiculum
The Pines of the Appian Way
Intermission
BRAHMS
Piano Concerto No. 2 in B-flat major
Max Levinson, piano
Allegro non troppo
Allegro appassionato
Andante
Allegretto grazioso
This concert has been generously supported by
Special thanks to Cambridge Trust Company for underwriting youth tickets
and Draper Laboratory for season support.
This concert will end around 6 p.m. Please turn off all electronic devices.
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About Our Spotlight Partner
TARGETCANCER FOUNDATION
TargetCancer Foundation promotes the development of lifesaving treatment protocols for
rare cancers. TargetCancer Foundation directly supports initiatives at the forefront of cancer treatment by funding innovative research,
fostering collaborations, and raising awareness among scientists, clinicians, and patients.
Developing treatments for rare diseases—affecting fewer than 200,000 Americans—is not financially viable for most pharmaceutical companies. Due to the lack of funding, researchers
lack basic tools needed to make progress—in many cases patients are treated with therapies
designed for other cancers.
TargetCancer Foundation is addressing this problem by focusing research dollars on cancers
that are not only rare, but also suffer from a lack of funding and basic research tools, and
as a result, have no treatments and poor rates of survival. The foundation provides seed
funding to jumpstart research programs for rare cancers where even the most basic research building blocks do not yet exist. In just five years, research initiated by TargetCancer
Foundation has been published in major scientific journals including Nature and translated
to several clinical trials, giving hope to patients who previously had no treatment options.
About the Artist
MAX LEVINSON
Pianist Max Levinson is known as an intelligent and
sensitive artist with a fearless technique. Levinson’s career
was launched when he won First Prize at the Guardian
Dublin International Piano Competition, the first American
to achieve this distinction. He received overwhelming critical
acclaim for his two solo recordings on N2K Encoded Music,
and was awarded the prestigious Avery Fisher Career
Grant. In 2005, he was given the Andrew Wolf Award for his
chamber music playing. The Boston Globe proclaimed: “The
questioning, conviction, and feeling in his playing invariably
reminds us of the deep reasons why music is important to
us, why we listen to it, why we care so much about it.”
Artistic Director of the San Juan Chamber Music Festival (in Ouray, Colorado) and former
Co-Artistic Director of the Janus 21 Concert Series in Cambridge, Massachussetts, Max
Levinson is an active chamber musician and conductor. In 1997, he was named “Best Debut
Artist” by The Boston Globe and was added to Steinway’s distinguished roster of artists.
Recordings include Max Levinson, his debut recording of Brahms, Schumann, Schönberg
and Kirchner, and Out of Doors: Piano Music of Béla Bartók. His most recent recording is of
the Brahms Sonatas for Violin and Piano, with violinist Stefan Jackiw (Sony). Upcoming
recording projects include the complete piano music of Bruce Sutherland.
Strongly committed to nurturing young audiences, Max Levinson has been a participant in
the Grammy in the Schools program throughout the United States and in other outreach
performances in numerous cities. He is on the faculty of the Boston Conservatory, where his
students have achieved success in numerous competitions. He also teaches at the Killington
Music Festival, and was formerly on the applied music faculty of Brown University.
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Notes on the Music
FANFARE FROM LA PÉRI
The last large-scale work completed by the French composer Paul
Dukas, best known for his symphonic poem The Sorcerer’s Apprentice, was La Péri, a “poème
dansé” that premiered in Paris in 1912. The ballet itself was a mystical love story that showcased Dukas’ gifts for orchestration and dynamic effect, always well suited to projects with a
magical atmosphere and narrative goal. This short Fanfare was composed as a kind of prelude to
the ballet, without specific connections to the plot; in its grandeur it is both focused and brilliant.
After a short opening that presents the conventional voicing, rhythms, and gestures of a regal
fanfare, a jaunty arpeggiated melody is presented several times and lightly developed. Harmonized in a gently expanded late-Romantic harmony, each phrase flaunts the brass section’s ability to articulate a crisp attack and blend toward a cadence. This section is followed by a more
contemplative chorale-like passage that builds to a fortissimo return of the opening fanfare and
an emphatic close.
PINES OF ROME Ottorino Respighi, the foremost composer in Italy during the Fascist period,
composed a trilogy of symphonic poems between 1915 and 1928: Fountains of Rome, Pines of
Rome, and Roman Festivals. These works’ natural, architectural, and ritual patriotism at a time
of rising nationalist sentiment made Respighi both rich and famous; in terms of style, Respighi
was harmonically conservative but undeniably gifted in color and dramatic gesture. Individual
movements in these works are more depictive than narrative, usually creating a single unified
mood driven by additive orchestration, repeating accompanimental underpinnings, and a sure
hand with melodic shape.
The movements of Pines of Rome depict pine trees in four different settings: a grand villa, an ancient catacomb, a grand hilltop, and a venerated road leading to the center of the city. Respighi
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er Paul
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wrote vivid descriptions for each, providing a sense of the images he had imagined
while composing. The Villa Borghese is the setting for a group of children at play,
dancing and pretending to be soldiers (hence the prominent brass). Their “swarming” in and
out of the shady grove is portrayed by the swirling trills and loops of the orchestra’s high voices,
while bouncy melodies and irregular rhythms give the music its forward momentum. In effect,
this is all an excuse for the orchestra to be as bright and shiny as possible, several times building
from a melodically grounded phrase up to an animated climax.
The contrast with the second movement could not be greater. The ruined catacomb is portrayed
as a site of ghostly and fragmentary singing, floating over a bare, low, solemn bass. The phrasing and harmonization of the melodies, as well as their interval content, allude to the eerie irregularities of medieval chant. A distant trumpet calls over wisps of string colors that create a
metaphorical haze. Another additive process layers one rhythmic phrase in successive sections
in a hollow harmony, building to become the backdrop for a mighty chorale-like brass melody.
It is a full moon on the hilltop of the third movement, beginning with an atmospheric piano
cadenza and a beautiful, improvisatory clarinet solo. The mood is contemplative and calm, with
undulating, sweetly dissonant harmonies. The flute, cello, and oboe are featured as soloists as
well; muted strings, with a prominent celesta and harp timbre, add texture and shimmer to the
otherworldly, moonlit ambiance. The end of the movement presents the song of a nightingale,
in the first canonical example of the use of pre-recorded sound in classical music.
Military topoi permeate the final movement, which imagines the Appian Way as a site of past
Roman victory. Out of the dawn, footsteps tread and come to evoke “bygone glories”: the sound
of the trumpets accompanies the army on its way to the Capitol. The undulating melody played
by the English horn can be seen as a case of ancient self-exoticism – the classical past as an
estranged foreign culture. Fanfares emerge out of this murky deep to layer into a triumphant
and brilliant ending, with emphatic timpani driving the orchestral “army” inevitably forward.
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PIANO CONCERTO NO. 2 IN B-FLAT MAJOR
Johannes Brahms’ imposing,
richly complex Second Piano Concerto was composed in 1878-1881, and dedicated
to Eduard Marxsen, one of Brahms’ first teachers; Brahms himself performed the
work often as a soloist when he toured. Sandwiched between the Second and Third Symphonies
and roughly contemporary with the Violin Concerto, the B-flat Piano Concerto, like these other
orchestral works, shows Brahms stretching form and theme beyond conventional parameters of
length and density. Unlike some other Romantic concerti whose reason for existing is based in
showmanship and virtuosic star power, the concerto here rises to the highest level of symphonic
accomplishment. The solo part is always beautifully integrated into the orchestra, blurring the
line between soloist and accompaniment, and several times members of the orchestra (e.g. the
French horn, the cello) are themselves brought to the metaphorical “front of the stage.”
For each movement, the formal roots are clear. What is unique to Brahms is the motivic interpenetration and endless development (known as “developing variation”) that lead one formal
block into the next and connect passages of music across long spans of time. The solo melody
in the French horn that opens the first movement, for example, provides the motivic content that
is developed over the course of the solo passages that follow as well as in the exuberant tutti
sections. Contrast is often created between the skillful technical passages of piano figuration,
which move entropically but confidently away from thematic coherence, and the melodic statements of the orchestra that bring back a sense of order.
The use of a scherzo form for the second movement of a piano concerto is highly irregular,
though obviously borrowed from four-movement symphonic form (piano concerti usually have
three movements, while symphonies from Haydn onward have four, including a dance movement
of a minuet and trio or, since Beethoven, a scherzo). Brahms’ minor-mode scherzo is heavy and
agitated, with shifting rhythmic emphasis and dark colors, especially compared with the trio’s
jollier major key and grand Baroque-style counterpoint.
A beautiful, soulful cello solo in 6/4 time begins the Andante movement, the melody from which
is subsequently decorated by the pianist in an almost accompanimental manner. Such passages
have led many to observe a chamber-music-like sensibility in the concerto; this is fitting, given
the slow movement’s gentle three-part form, its wealth of personal feeling, and Brahms’ passion
for the contrapuntal intimacies of trios and quartets.
Compared to the many moods of the first three movements, rich in intricate development and
extended harmony, the Finale is a boisterous sonata-rondo that strikes a lighter tone, mostly
through the use of Hungarian folk rhythms on which Brahms so often relied to create a sense
of fun that was nonetheless serious in purpose. Ultimately, this work proves to be one of the
grandest concerti ever created, seamlessly blending the technical demands of soloistic writing
with the integrated heft of the symphonic form.
EMILY RICHMOND POLLOCK
com
ber DIF
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Contributors and Supporters
The Cambridge Symphony Orchestra gratefully acknowledges our donors for the 2014-2015
season. Your gifts allow us to provide music to new audiences.
Angels $1,000 or more
Judith & David Ganz • Ellen & John Newell • Marty Jacobs & Carol Thomas • Charles
Williams • William Yates • Anonymous
Benefactors $500-$999
Mr. & Mrs. Rodrigo Botero • Eugene Brown (in memory of Ginny Brown) • David Cohen •
Harriet & Bill Fierman^ • Eron Hackshaw • Elizabeth & Robert Henske • Erik Ryan • Rachel
Spiller^ • Zuckerman Family^
Patrons $250-$499
Patricia & Robert Berens • Karin & Jerry Blum • Allen Feinstein & Andrea Campbell • Bernard
Costello • Marjorie & Mark Hanson^ • Helen & Bill Harwood • Kevin Hedrick • James Madigan
& Daphne Layton • Andrew Leeson • Stacy Potts • Rothman-Shore Family^ • Naomi & Richard
Shore^ • Anonymous
Supporters $100-$249
Muriel Altman (in honor of Emily Altman) • Lise Capet • June & Colin Cassidy • Matthew
Daniels • Sidney Diamond • Paul Ferreira • Leslie Wu Foley • Stephen Garone • Josh
Garstka • Donna Greenberg^ • Heidi Hoeller • Loretta Hubley • Doug Jacobs • Joanna &
David Jerison • Vera & Tom Kreilkamp • Kwame Lewis • Margot Livesey • Carol Louik • Alice
Mackey • Stanley Mah • Caryn Marcus • Evie McFadden • Kim & Brian McLeod • Katherine
Miller • Susan Fagan Moran • Bernadette Nelson Shapiro • Amy & Max Newell • Jim Overly
• Tadhg Pearson • Ann & Bill Petri • Malcolm Pittman • Emily & Andy Pollock • Cindy
Porter • Elizabeth & Robert Powell • Jesus Ramos • Richard Romanoff • Isadore & Rosetta
Rosenberg • Roberta Rubin • Nilashish & Marion Sarkar • David Schwartz • Frank Skraly &
Anita Weiner • Stuart Solomon • Esta & Alvin Star^ • Pat & David Thomas • Representative
Timothy J. Toomey, Jr. • Jane & Ed Wachutka • Charlotte & Claude Woods • Anonymous
Friends Up to $99
Lisa Aguirre • Bill Allen • Expedito Almeida • Emily Altman • Kathleen Baron • Dorothy
Barron • Alexander Berlin • Jason & Isabel Boltz • Aaron Bray • Rosalind Bronsen^ • Sarah
Buhay • Brian Bunnell • Christopher Cain • Ann Carey • Kyle Carrington • Christopher Carter
• Carly Cassano • Devin Caughey • Paul Charles • Shuifang Chen • Matthew Clair • Heather
Classen • Laura Clayton • Meryl Cohen • Andrew Cohn • Sandra Convington • Timothy
DeChant • Brian Dervan • Ashley Sullivan & Abe Dewing • Craig Dewing • Kyle Dewing
• Ashley Douglass • Eleanor Duckworth • Betsy & Tom Everett^ • Fred Fantini • Harold
Farberman • Joseph Fineman • Angie Foss • Paulina Feedenberg • Benjamin Freedman •
Sarah Freeman^ • Naishin Fu • Charlene Galarneau • Ilona Gerbakher • J. David Gibbs •
Alice & Allan Gottlieb • Mary Gregorio • Lisa Gryncel • Andrinanda Halim • Aniko Hannak •
Dorothy Hayes • Benjamin Hires • Sarah Izen • Ruth Jeka • Elaine Joseph • Lois Josimovich
• Alyssa Julien • Lynn & Dave Kaminski^ • Lisa Kavanaugh • Zachary Knecht • Denise Kwok
• Julie LeDoux • Flora Lee • Hanyen Lee • Yvonne Lee • Michael Leeson • Margaret Leslie
• Leon Leung • Natalie & Jerome Levy • Evelyn & Anthony Licciardello • Virginia Love •
Henry Lukas • Jennifer Lyons • Scott MacRae • Rachel Maher • Anna Mandell • Caryn
May • Graeme McAlister • Simon McAuliffe • Ben Miller • Jon Miller • Hiroshi Minato •
Kimberly Moller • Caterina Nelson • Ilana & Sam Newell • Cynthia O’Leary • Megan O’Leary
• Marci Ornstein • James Palma • Amanda Palmer • Steven Perko • Katherine Petcosky
• Anetta & Andrew Plaut • Connie & Bob Pyle • Carol Rainwater • Rita Ranucci & Peter
Lieberman • Anna Revette • Amy Ryals • Dana Schwartz • Karen Shaines & Nathaniel
Spiller^ • Curtis Shelton • Janice Shelton • Natalie Shelton • Molly & Erika Shira • Paul
Shyne • Nina Slywotzky • Janet & David Spiller^ • Jonathan Spiller^ • Staisha StephensBrown • Christine Stewart • Adam Stoler • A. Heller & B. Stoneman • Peri Strongwater •
Patricia & Tom Walker • Chris Warshaw • Andrew Weigl • Jim Whipple^ • William Whitney
• Coe & Paul Williams • David Wolfendale • Cynthia Woods • Christopher Woodsum • Mark
Zegarelli • Alec Zimmer • Gail & William Zimmer • Anonymous (6)
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^Contributors to the Gertrude Spiller Fund. In 1975, Gertrude Spiller, along with
Rachel Spiller and Harriet Fierman, founded the Little Orchestra of Cambridge, now called
the Cambridge Symphony Orchestra. She served for many years as an oboist and as the
president of the orchestra. The CSO has established a fund in her memory, earmarked for
special projects that embody her spirit and demonstrate the purposes for which she started
this orchestra: performing free concerts at schools and hospitals, commissioning new works
by local composers, and transporting elders to concert sites.
Our Other Generous Supporters
We wish to thank the following organizations and individuals for their support:
Paul Ferreira – Cambridge Printing Company
Joseph V. Roller II, William Yates – Cambridge Trust Company
Brian Bunnell – Cadbury Commons
Acentech
Amazon.com
Biogen Idec Foundation
Cambridge Arts Council
Cambridge Public Library
Cambridge Savings Bank
Cambridge Trust Company
Draper Laboratory
Friends of the Somerville
Public Library
The GE Foundation
Massachusetts Cultural Council
MetLife Foundation
Rayburn Music
Somerville Arts Council
Tufts Health Plan Foundation
UNUM
The Verizon Foundation
YouVille House
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