Beruflich Dokumente
Kultur Dokumente
MSM Philharmonia
(18961989)
ANDERS KOPPEL
(18331897)
Program Notes
Three Pictures for Orchestra
Virgil Thomson
Virgil Thomson originally composed and published his Three Pictures for
Orchestrasome of his most highly regarded symphonic musicas a result
of commissions from three different orchestras over a five-year period. Yet
perhaps because of their common connection as what he called landscape
pieces, the composer himself conducted them together as a suite on a
recording, and relatively recently they were published collectively under
the present title.
Thomson completed The Seine at Night on the last day of 1947 for the
Kansas City Philharmonic, which gave the first performance, led by Efrem
Kurtz, two months later, on February 24. The composer wrote that he had
spent his second twenty years in Paris writing music about Kansas City
so that Parisians would understand how we like to think and feel. Now,
he said, he wanted to offer to the other city that I love, and the only other
one where I have ever felt at home, a sketch, a souvenir, a postcard of the
Seine, as seen from the front of my own house, a view as deeply a part of my
life and thought as Wabash Avenue, where I spent my first twenty years.
In describing the piece in the preface to the score, Thomson situated his
view nocturnally from one of the bridges to the Louvre (presumably in
front of his house), where the stream is so deep and its face so quiet that
it scarcely seems to flow. Unexpectedly, inexplicably a ripple will lap the
masonry of its banks. In the distance over Notre Dame or from the top of
faraway Montmartre, fireworks, casual rockets flare. Later, between a furry
sky and the Seines watery surface, fine rain hangs in the air.
The composer also gave clues about his technical means for creating his
sonic landscape:
program notes
The melody that represents the river is heard in three different orchestral
colors. Between the second and third hearings there are surface ripples and
distant fireworks. At the end there is a beginning of quiet rain. . . .
[T]he melodic contours are deliberately archaic, with memories of
Gregorian chant in them; . . . the harmony, for purposes of perspective, is
bitonal and by moments polytonal; . . . the rockets effects involve exclusive
four-note chords, and . . . there are references to organ sonorities.
In the fall of 1948 Thomson composed Wheat Field at Noon for the
Louisville Orchestra, which he led in the first performance on December
7. As with the first of his pictures, he employed very technical means to
depict this Midwestern landscape, though the result sounds far from
mechanical.
Formally, wrote Thomson, the piece is
a series of variations on a theme containing the twelve notes of the
chromatic scale arranged as four mutually exclusive triads. The freer
variants of this theme employ a device that may be called the rising bass
. . . the lower line of each variation becomes the upper line of the next.
The stricter variants are canons, or rounds, in four parts. Each part in
these is accompanied in parallel motion by voices of identical timbre
arranged in major and minor triads constantly present to the ear. Melody,
in other words, moves within a harmonic continuum that is static
because it is acoustically complete. The only aid that has been provided
to the listener for perceiving motion is a clear differentiation of color
among the four real parts.
program notes
Koppel composed his Marimba Concerto No. 1 in 1995 as a set piece for
the finals of the International Percussion Competition of Luxembourg.
He writes: I was named a member of the jury and it was a great experience
for me to hear the many gifted young talents during the first two rounds.
Four participants made it to the finals: two extremely skillful Japanese
musicians, a Bulgarian, and a young Polish girl studying in Stuttgart and
Salzburg. She amazed everybody in the audience as well as on the jury
especially me, the composerwhen she premiered my Concerto in the
finals. That was Katarzyna Mycka. Since that time the Concerto has
become a staple of mallet players around the world and Koppel has gone on
to compose three more marimba concertos.
program notes
After the weight of the first movement, the Andante sostenuto enters like a
breath of fresh air with a lovely opening melody in a distant new key. The
movement, which is not without its tinges of melancholy, again takes much
of its motivic material from its opening. Two matching sections frame a
middle section signaled by the first violins alone. Partway through this
centerpiece Brahms introduces a new idea with a poignant oboe solo. He
concludes his ternary form by adding a coda from which horn and solo
violin emerge in ethereal sweetness.
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Jenna Sobolewski
Aline Vartanian
Dilyana Zlatinova
Cello
Christopher Irvine,
Principal
Li Pang
Sunmin Park
Zhuxi Wang
Hyelim Kwon
Jinsun Choi
Ting-Yu Yang
Frederick Chu
Irene Han
Seung Jin Park
Eun Ji Lee
Yoobin Chung
Double Bass
Viola
Marco Danesi
Samuel Sparrow
Jingjing Wang
Ruogu Wang
Flute
Ashley Hunter
Coreisa Lee
Zuoliang Liu
Imogen Morrall
Yi Xiang
Clarinet
Oboe
Lindsay Hogan
Cathryn Jones
Danielle McBryan
Beatriz Ramirez
Horn
Corbin Castro
Alex Depew
Sarah Everitt
Andrew Johnson-Scott
Keith Kirkpatrick
Victoria Matthews
Trumpet
Frank Gyeabour
Emilio Martinez
Sa Ng
Baldvin Oddsson
Trombone
Joseph Hudson
Willem De Koch
Michael Stanton
Cameron Strine
Tuba
Ethan Morrison
Timpani
Kevin Ritenauer
Wai Chi Tang
Percussion
Michelle Cozzi
Eric Goldberg
John Ringor
Harp
Yeon Hwa Chung
Luo Qian Qian He
Celesta
Willa Darias
MSM Philharmonia
Violin 2
Bassoon
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Introducing
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FACULTY GIFTS
We wish to recognize those generous faculty members who have contributed
financially to Manhattan School of Music this past year.
Angela Beeching
Joan Caplan
Laurie Carney
Erik Charlston
Miriam Charney
Linda Chesis
Jeffrey Cohen and
Lucie Robert
Susan Deaver
Casey Molino Dunn
Sylvia Rosenberg Diamand
Marion Feldman
Zenon Fishbein*
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* Deceased
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Joan Taub Ades and
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Anonymous
* Deceased
FOUNDERS SOCIETY
We are deeply indebted to those who have demonstrated their philanthropic
partnership with Manhattan School of Music over the years through the
substantial commitments below.
$5,000,000 and above
G. Chris Andersen and
SungEun Han-Andersen
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Founder and Director,
The Amato Opera
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Trustees Emeriti
Alan M. Ades
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The Honorable Richard Owen
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Pinchas Zukerman
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