Beethoven’s chamber music and an original play by Judith Lynn Stillman featured at the RI Philharmonic Carter Center, April 29

Three RI Philharmonic Orchestra members, Pianist Stillman, Gamm’s Tony Estrella team up for a performance of Beethoven’s chamber music and more

The Rhode Island Philharmonic Orchestra & Music School hosts Boldly Beethoven: Judith Lynn Stillman and Friends from the Rhode Island Philharmonic Orchestra, an original “play within a concert” featuring special guest Cranston’s Tony Estrella, artistic director of the Gamm Theatre. Pianist Stillman, who lives on the East Side of Providence, and RI Philharmonic Orchestra members violinist Katherine Winterstein, cellist Steven Laven and clarinetist Ian Greitzer, will perform Beethoven’s Sonata No.5 for Violin and Piano (Spring), Trio for Piano, Clarinet, Cello and Trio for Violin, Cello and Piano (Kakadu Variations). Estrella, of Cranston, will bring Beethoven’s words to life in the world premiere of Stillman’s multimedia Beethoven: Torment & Triumph.

The event takes place at 2:00pm, April 29 (Sunday), at the RI Philharmonic Music School’s Carter Center, 667 Waterman Ave., East Providence. The preview is on April 26 (Thursday) at 1:00pm at Sapinsley Hall, Rhode Island College.

“I am thrilled to be part of this unique collaboration with such extraordinary colleagues. We’re hoping that my script, and the melding and juxtaposition of Beethoven’s music and words, will provide glimpses into the composer’s world and underscore the inseparable nature of person and artist. The intention is to illuminate and contextualize the music, twining together Beethoven’s, Franz Liszt’s and Carl Czerny’s letters, journals and reminiscences. n addition to the debut of my ‘play within a concert’—in which Tony Estrella portrays Beethoven and four of his contemporaries, some of Beethoven’s most monumental chamber music and piano works will be interpreted on stage by members of the Rhode Island Philharmonic Orchestra. I’ll join these consummate artists as pianist.” –Judith Lynn Stillman, pianist, composer and filmmaker 

“We are always looking for ways to reach more people in more places in a unique and more intimate setting, which is not possible when we’re performing as a full orchestra. We are thrilled to be able to partner with Judith and Rhode Island College and involve principal players from the Orchestra in an exciting, creative musical program that can be housed at both RIC and the Carter Center, and can travel anywhere in the state or region.” –David Beauchesne, executive director of the Rhode Island Philharmonic Orchestra and Music School

 ***At a Glance***

Boldly Beethoven: Judith Lynn Stillman and Friends from the Rhode Island Philharmonic Orchestra
2:00pm, Sunday, April 29
RI Philharmonic Orchestra & Music School’s Carter Center
667 Waterman Ave.
East Providence

Judith Lynn Stillman, pianist
Tony Estrella, Ludwig van Beethoven

BEETHOVEN: Sonata No.5 for Violin and Piano (Spring)
BEETHOVEN: Trio for Piano, Clarinet and Cello
BEETHOVEN: Trio for Violin, Cello & Piano (Kakadu Variations)
BEETHOVEN: TORMENT & TRIUMPH: a play within a concert

Tickets are $25 for adults, $15 for students 18 and under or with a college ID, $10 for RI Philharmonic Music School students and family members. Tickets can be purchased online at tickets.riphil.org, in person from the RI Philharmonic Orchestra Box Office in East Providence, or by phone 401.248.7000 (M-F 9:00am-4:30pm). Day of concert tickets will be available at the Carter Center starting at 1:00pm.

Preview Performance
1:00pm, Thursday April 26
Sapinsley Hall
Rhode Island College
Providence
Admission is free, and tickets are available at the door.

About Judith Lynn Stillman

Judith Lynn Stillman, pianist, composer and filmmaker, who has been hailed as an “artistic visionary,” is the artist-in-residence and a professor of music at Rhode Island College. She has performed throughout the world, at Carnegie Hall, Lincoln Center, Marlboro, Tanglewood, Grand Teton Festival and at The Grammy’s celebration in honor of Rostropovich. She has appeared with Wynton Marsalis, The Beach Boys, Borromeo, Moscow, Muir, Cassatt and Lydian string quartets, in a BOSE commercial with Herbie Hancock, as visiting guest artist at major conservatories in China, Russia and the Czech Republic, as music director in Rome and Verona, Italy. Winner of 18 piano competitions, the first Pell Award in the Arts, and the Christiana Carteaux Bannister Award for Civil Service in the Arts, Stillman holds Bachelor’s, Master’s and Doctoral degrees from The Juilliard School. Stillman, as filmmaker, won the Grand Jury Prize for Best Music Video in the Sherman Oaks Film Festival in California, Best Multimedia Film in Views of the World International Festival in Montreal, Best Music Video in the Canadian Diversity Film Festival and Best Music Score in the Chautauqua International Film Festival in NY. Her iconic duo recording with Wynton Marsalis on SONY Classical was on the Top Ten of the Billboard charts: “Stillman and Marsalis make an impeccable duo. The playing consistently dazzles.”

 About Tony Estrella

tony estrella gamm theatre

Tony Estrella has been artistic director of The Gamm Theatre since 2002 and has produced more than 65 plays for the company. He began working with The Gamm as an actor in 1996, appeared in more than 30 productions, and directed over 20 shows. Under his leadership, The Gamm has received numerous awards, including Elliot Norton Awards for the world premiere of Paul Grellong’s Radio Free Emerson and Clifford Odets’ Awake & Sing! Estrella is on the theatre faculty at the University of Rhode Island and received a 2013 Pell Award for Excellence in the Arts. He has appeared in major films such as The Departed, Manchester by the Sea and The Company Men.

About the RI Philharmonic Orchestra Members

katherine-winterstein-headshot-spring2018Katherine Winterstein

is the concertmaster of the Vermont Symphony, the acting assistant concertmaster of the Rhode Island Philharmonic, and performs regularly with the Handel and Haydn Society, Boston Baroque and the Boston Modern Orchestra Project.

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IaGreitzer serves as principal clarinetist of the Boston Pops Esplanade Orchestra, the Rhode Island Philharmonic and the Boston Classical Orchestra.

 

imgoSteven Laven appears with the Pro Arte Chamber Orchestra (principal cellist), the Rhode Island Philharmonic, the Handel & Haydn Society, Boston Symphony and Boston Pops Esplanade Orchestra.

 

 

 

Meet Violinist Alexi Kenney; Performs Korngold’s Violin Concerto with the RI Philharmonic Orchestra, April 7

Soloist Alexi Kenney joins Guest Conductor Jacomo Bairos and the RI Philharmonic Orchestra for the TACO Classical concert, Saturday, April 7
Open Rehearsal is on Friday, April 6

“A talent to watch. …Architect’s eye for structure and space and a tone that ranges from the achingly fragile to full-bodied robustness.”—New York Times

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ALEXI KENNEY, Soloist for Korngold’s Violin Concerto.
  • Debuts included the Detroit, Columbus, California and Amarillo symphonies.
  • Had return engagements with the Santa Fe Symphony and the Las Vegas Philharmonic.
  • Appeared in a recital at Caramoor, the Isabella Stewart Gardner Museum and Jordan Hall in Boston, and at Lincoln Center’s Mostly Mozart Festival.Alexi Kenney, is the recipient of a 2016 Avery Fisher Career Grant.
  • Won at the 2013 Concert Artists Guild Competition at the age of 19, and it led to a critically acclaimed Carnegie Hall debut recital at Weill Hall.
  • Holds a Bachelor of Music from the New England Conservatory in Boston, where he is currently completing his Artist Diploma as a student of Donald Weilerstein and Miriam Fried.
  • Previous teachers include Wei He, Jenny Rudin and Natasha Fong.

Buy Tickets

Tickets start at $15 (including all fees), and can be purchased online at tickets.riphil.org, in person from the RI Philharmonic Orchestra Box Office in East Providence, or by phone 401.248.7000 (M-F 9am-4:30pm). On day of concerts, tickets are also available at The VETS Box Office (Friday, 3:30pm–showtime; Saturday, 4:00pm-showtime). Discounts are available for groups of 10 or more.

Meet Guest Conductor Jacomo Bairos; Performs Rogerson, Prokofiev, Korngold and Marquez with the RI Philharmonic Orchestra, April 7

Jacomo Bairos conducts the Rhode Island Philharmonic Orchestra
for the TACO Classical concert, Saturday, April 7
The open rehearsal is on Friday, April 6

About Jacomo Bairos
“Splendid sense of musicality” –Knoxville Mercury

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JACOMO BAIROS, guest conductor
  • Music Director and Conductor of the Amarillo Symphony.
  • Co-founder and Artistic Director for Miami’s Nu Deco Ensemble.
  • Musical mentors include Gustav Meier, Larry Rachleff, Robert Spano ad Kurt Masur.
  • Graduate of Peabody Conservatory’s distinguished Orchestral Conducting Program and the American Academy of Conducting at Aspen.
  • An accomplished and award-winning tuba player who has given master classes and performed around the world.
  • This appearance marks his first performance with the Rhode Island Philharmonic Orchestra.

This appearance marks his first performance
with the Rhode Island Philharmonic Orchestra.

Buy Tickets

Tickets start at $15 (including all fees), and can be purchased online at tickets.riphil.org, in person from the RI Philharmonic Orchestra Box Office in East Providence, or by phone 401.248.7000 (M-F 9am-4:30pm). On day of concerts, tickets are also available at The VETS Box Office (Friday, 3:30pm–showtime; Saturday, 4:00pm-showtime). Discounts are available for groups of 10 or more.

Romeo and Juliet Suites with conductor Jacomo Bairos, April 7; Violinist Alexi Kenney performs Korngold’s Violin Concerto

The Rhode Island Philharmonic Orchestra welcomes guest conductor Jacomo Bairos to The VETS stage for Prokofiev’s Romeo and Juliet Suite Nos.1 & 2, Rogerson’s Luminosity, Márquez’s Danzón No.2 and Korngold’s Violin Concerto, featuring soloist Alexi Kenney on violin. The TACO Classical concert is Saturday, April 7, at 8:00pm. The Open Rehearsal is on Friday, April 6, at 5:30pm.

“We are pleased to introduce conductor Jacomo Bairos and violinist Alexi Kenney to Rhode Island audiences. As the award-winning music director of the Amarillo Symphony, and co-founder of Miami’s hybrid Nu Deco Ensemble, Jacomo is known for his ability to craft compelling musical and multi-media experiences. We’re happy to welcome Jacomo and Alexi to The VETS to explore Prokofiev, Rogerson, Korngold and Marquez. We’re also thrilled to be near the end of our Music Director search season, and look forward to making an announcement in the near future.”
–David Beauchesne, Executive Director, Rhode Island Philharmonic Orchestra & Music School

 ***At A Glance ***
Romeo & Juliet
TACO Classic Concert
Saturday, April 7, 8:00pm
The VETS, One Avenue of the Arts, Providence

Jacomo Bairos, guest conductor
Alexi Kenney, violin

ROGERSON: Luminosity
PROKOFIEV: Romeo and Juliet, Suite Nos.1 & 2
KORNGOLD: Violin Concerto
MÁRQUEZ: Danzón No.2

Tickets start at $15 (including all fees), and can be purchased online at tickets.riphil.org, and in person or by phone from the RI Philharmonic Orchestra Box Office in East Providence (401.248.7000, M-F 9am-4:30pm). On concert days, tickets are also available at The VETS Box Office (Friday, 3:30pm–showtime; Saturday, 4:00pm-showtime). Discounts are available for groups of 10 or more.

Open Rehearsal
Friday, April 6, at 5:30pm
General Admission is $15. Tickets are available at tickets.riphil.org or 401.248.7000 (M-F 9:00am-4:30pm)

“Bairos conducts with every fiber of his being…. His delight in being on the podium is palpable.”—Chicago Sun-Times
“Genuine talent.”—Atlanta Constitution Journal
“Splendid sense of musicality.”—Knoxville Mercury

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JACOMO BAIROS

About Jacomo Bairos, guest conductor: With education and outreach as core tenets of his work, Bairos and the Amarillo Symphony have introduced Class Act, an education program. Along with routinely coaching the Amarillo Youth Orchestras and the Greater Miami Youth Symphony, Bairos leads interactive programs and concerts for SymphonyKids, Nu Deco’s Imagine Series and Carnegie Hall’s Link-Up. Jacomo Bairos, known for his energetic leadership and dynamic artistry, is the Amarillo Symphony’s 17th music director. Since 2013, under his direction, the Amarillo Symphony has grown artistically and, for the first time in decades, boasts sell-out performances. He also has established the Symphony’s first-ever Composer-in-Residence program. Along with composer Sam Hyken, Bairos co-founded Nu Deco Ensemble, an eclectic and virtuosic chamber orchestra reimagined for the 21st-century. He is currently its artistic director.

He is the former associate conductor for the Charlotte Symphony. His musical mentors include conductors Gustav Meier, Robert Spano and Kurt Masur. After participating in the 2012 Kurt Masur Conductors Seminar in New York City—where he shared the podium with Maestro Masur in concert—Bairos was awarded the prestigious Felix Mendelssohn-Bartholdy Scholarship by the US Mendelssohn Foundation and Kurt Masur. Bairos has traveled to Germany to conduct concerts with the Leipzig Symphony Orchestra and has assisted at the Gewandhaus Orchestra. A graduate of Peabody Conservatory’s distinguished Orchestral Conducting Program and the American Academy of Conducting at Aspen (2010 and 2012), Bairos has also worked with Jorma Panula, Marin Alsop, Hugh Wolff and Larry Rachleff.

As an accomplished and award-winning tubist, Bairos has given master classes and performed with festivals and orchestras throughout the world. At age 18, he was the first tubist in the history of the Aspen Music Festival to win the festival-wide concerto competition. Bairos has performed, toured and recorded with the New York Philharmonic, and the symphony orchestras of Chicago, Cincinnati and Seattle. He has held principal positions with orchestras in America, Spain and China, and was principal tuba for the Singapore Symphony Orchestra from 2004-2007.

About Alexi Kenney

kenney
ALEXI KENNEY

“A talent to watch. …Architect’s eye for structure and space and a tone that ranges from the achingly fragile to full-bodied robustness.” New York Times

Kenney holds a Bachelor of Music from the New England Conservatory in Boston, where he is currently completing his Artist Diploma as a student of Donald Weilerstein and Miriam Fried. Previous teachers include Wei He, Jenny Rudin and Natasha Fong. Alexi Kenney is the recipient of a 2016 Avery Fisher Career Grant. His win at the 2013 Concert Artists Guild Competition at the age of 19 led to a critically acclaimed Carnegie Hall debut recital at Weill Hall. Chamber music has continued to be his focus—touring with Musicians from Marlboro, Ravinia’s Steans Institute and regularly performing at festivals including ChamberFest Cleveland, Festival Napa Valley, the Lake Champlain Chamber Music Festival, the Marlboro Music Festival, Music@Menlo, Open Chamber Music at Prussia Cove (UK), Ravinia and Yellow Barn. He has collaborated with artists including Pamela Frank, Miriam Fried, Steven Isserlis, Kim Kashkashian, Gidon Kremer and Christian Tetzlaff, and is a new member of the Chamber Music Society of Lincoln Center’s CMS 2 program beginning in the 2018-19 season.

About the concert: stories behind the music

Chris Rogerson
Luminosity
A refreshing talent: Chris Rogerson (1988-) has been hailed by The New York Times as a “confident new musical voice,” and by the Washington Post as a “fully-grown composing talent.” Indeed, from a distinguished musical education at the Curtis Institute of Music, Yale School of Music and Princeton University, Rogerson, in 2012, has been honored with the Charles Ives Scholarship from the American Academy of Arts and Letters. He has won numerous awards including the Aaron Copland Award.
Backstory: Luminosity was commissioned by the Buffalo Philharmonic Orchestra. It has been performed by the Atlanta and Grand Rapids symphony orchestras and the Bach Festival Orchestra.
Listen for this: A sprightly four minutes, Rogerson’s work unleashes daring virtuosity with remarkable orchestral colors. He employs modest forces but maximizes the orchestra’s sound palette through unique uses of percussion, accompaniment figures and dynamic contrasts.

Sergei Prokofiev
Romeo and Juliet: Suite Nos.1 & 2
A rocky launch: In 1934, the Kirov Theater in Leningrad suggested to Sergei Prokofiev (1891-1953) that he compose a full-length ballet to Shakespeare’s Romeo and Juliet. The confused and frustrating history of this great ballet started right then. As it turned out, the Kirov company backed out of its arrangement with the composer, and he signed a contract with Moscow’s Bolshoi Ballet. However, after hearing the first version of the music to Romeo and Juliet, the Bolshoi declared it “undanceable” and nullified its agreement with Prokofiev.

At that point, Prokofiev decided to salvage what music he could and set about extracting the two Romeo and Juliet suites, which premiered in 1936 and 1937. Eventually, the complete ballet was produced in 1938—but in Brno, Czechoslovakia, not in Russia. Two seasons later, the Kirov Theater presented the Russian premiere.

Sequence still works: The movements of Romeo and Juliet Suites 1 and 2 are not in the order they appear in the complete ballet. However, the movements selected for this program restore some semblance of the story. The Montagues and the Capulets present a stamping main section with a contrasting middle that gently portrays Juliet.
Listen for this: The Minuet marks the arrival of guests for the ballroom scene. The Madrigal is a dialogue between the two lovers, as is the famous nocturnal balcony scene of the Romeo and Juliet movement. Dance of the Girls with Lilies is performed by instruments softly muted so as not to wake the sleeping Juliet.

Erich Wolfgang Korngold
Violin Concerto in D Major, Op.35
Not just a Hollywood composer: Erich Wolfgang Korngold (1897-1957) is well-known to classic movie buffs as the composer of scores to such adventure films as Captain Blood, The Adventures of Robin Hood and The Sea Hawk. At one time, Korngold held an honored position in European opera and concert music and was considered a wunderkind. He composed his first major work, the pantomime ballet Der Schneemann, at the age of 11 and went on to write a series of successful operas, culminating in Die tote Stadt, completed when he was only 23. Korngold got involved in Hollywood film scoring in 1934, and for a film version of A Midsummer Night’s Dream, he adapted the music of Mendelssohn. He went on to compose a string of 18 original film scores—most of them swashbucklers.

Returning to his roots: His scores for films were closely aligned with the Viennese operatic stage from which Korngold had come, and his late Romantic, Wagner-cum-Straussian style fit them perfectly. Ten years before his death, Korngold abandoned film, when he discovered that his reputation in that field had damaged his image among American concert-music critics. With focused energy, he plunged into serious composition, producing over the next few years the Violin Concerto in D Major (1947), a symphony (1950) and several other works.
Listen for this:  In the first movement, notice the frequent changes of tempo, texture and mood—as in an emotional movie scene. Near the end of the movement, when the violin soloist has finished playing the unaccompanied section (called the cadenza), the first theme takes on the magnificent character of a classic movie’s “big theme.”

The finale is a jig, showing off the composer’s full range of brilliance in composing for the orchestra. Are you reminded of main title music at the opening of a classic film—particularly when the horns take up the principal theme? After the violin soloist chews up this theme by reworking it extensively, does the full-orchestra ending seem like the concerto is the sound track for rolling the end titles?

Arturo Márquez
Danzón No.2
Celebrated composer: Arturo Márquez (1950- ) was born in Alamos Sonora, Mexico. Beginning his musical training at the age of 16, he later attended Mexico City’s Conservatory of Music and the Institute of Fine Arts of Mexico. Continuing his development as a composer, Márquez went to Paris, where he worked with Jacques Castérède. At the California Institute of the Arts, Márquez studied with Morton Subotnik and Mel Powell.
Overwhelmingly received: In 1994, the National Symphony Orchestra of Mexico performed a new work by Márquez, the Danzón No.2. The audience was so enthusiastic, it demanded an encore. Commissioned in 1994 by the Filarmónica de la UNAM in Mexico City, Danzón No.2 has been performed many times in the United States.
Listen for this: This music is irresistible with its combination of long, elegant melodies and its spiky montuno rhythms.

RI Philharmonic Orchestra’s Executive Director David Beauchesne assures radio audiences despite a nor’easter, ‘the show will go on’

 

David Beauchesne-2
David Beauchesne, Executive Director

As the third nor’easter in 10 days bears down on Rhode Island, David Beauchesne, executive director of the RI Philharmonic Orchestra & Music School, took to the airways to assure residents that the “show will go on.”

This month’s conductor, Victor Yampolsky, may have had his flight canceled but the RI Philharmonic Orchestra is doing all it can to get him here in time for his rehearsal on Wednesday.

Listen to our Executive Director as he discusses the upcoming concert on the radio.

Stay tuned for updates!

Learn more about the TACO Classical Concert on Saturday, March 17, with an Amica Rush Hour on Friday, March 16, by clicking HERE.

Victor Yampolsky first appeared with the Rhode Island Philharmonic Orchestra in 1996, leading a program including music from Wagner’s Tannhäuser, Grieg’s Piano Concerto and Schumann’s Symphony No.3.

Buy Tickets

Tickets start at $15 (including all fees), and can be purchased online at tickets.riphil.org, in person from the RI Philharmonic Orchestra Box Office in East Providence, or by phone 401.248.7000 (M-F 9:00am-4:30pm). On day of concerts, tickets are available at The VETS Box Office (Friday, 3:30pm–showtime; Saturday, 4:00pm-showtime). Discounts are available for groups of 10 or more.

Meet Pianist Spencer Myer; performs Bernstein with the RI Philharmonic Orchestra for the first time, March 16-17

The Rhode Island Philharmonic Orchestra welcomes Guest Conductor Victor Yampolsky for a program featuring pianist Spencer Myer performing Bernstein‘s Symphony No.2 (Age of Anxiety).

CL 6 Spencer Myer soloist
Spencer Myer

About Pianist Spencer Myer

“Superb playing and poised, alert musicianship”
—Boston Globe
“Definitely a man to watch”—The Independent

  • Myer’s current season debuts include the Rhode Island Philharmonic, Arizona’s Flagstaff Symphony and Colorado’s Grand Junction and Longmont Symphony orchestras.
  • Had return engagements with the Duluth Superior and Southeast Iowa symphony orchestras.
  • Half of the Daurov/Myer Duo, having teamed up with the award-winning cellist Adrian Daurov in 2012.
  • Myer’s orchestral, recital and chamber music performances have been heard throughout the United States, Canada, Europe, Africa and Asia.
  • 2005 recital/orchestral tour of South Africa included a performance of the five piano concerti of Beethoven with the Chamber Orchestra of South Africa, followed by return orchestra and recital tours in 2008, 2010, 2012 and 2015.

Buy Tickets

Tickets start at $15 (including all fees), and can be purchased online at tickets.riphil.org, in person from the RI Philharmonic Orchestra Box Office in East Providence, or by phone 401.248.7000 (M-F 9:00am-4:30pm). On day of concerts, tickets are also available at The VETS Box Office (Friday, 3:30pm–showtime; Saturday, 4:00pm-showtime). Discounts are available for groups of 10 or more.

Season finale: Meet Guest Conductor Edwin Outwater; Performs Mahler and Mendelssohn with the RI Philharmonic Orchestra, May 5

For the Season Finale Edwin Outwater Conducts
the Rhode Island Philharmonic Orchestra
for the TACO Classical concert, Saturday, May 5

The Open Rehearsal is on Friday, May 4

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EDWIN OUTWATER, guest conductor

About Edwin Outwater

“Headed for a top-tier future”–San Francisco Classical Voice

  • Music Director of Ontario’s Kitchener-Waterloo Symphony.
  • Director of Summer Concerts at the San Francisco Symphony.
  • Former Resident Conductor of the San Francisco Symphony, where he worked closely with Michael Tilson Thomas.
  • Has conducted the New York and Los Angeles philharmonic orchestras.
  • Received the Leonard Bernstein Award for Excellence in Educational Programming.

This appearance will be his first performance
with the Rhode Island Philharmonic Orchestra.

Buy Tickets

Tickets start at $15 (including all fees), and can be purchased online at tickets.riphil.org, in person from the RI Philharmonic Orchestra Box Office in East Providence, or by phone 401.248.7000 (M-F 9am-4:30pm). On day of concerts, tickets are also available at The VETS Box Office (Friday, 3:30pm–showtime; Saturday, 4:00pm-showtime). Discounts are available for groups of 10 or more.

Meet Guest Conductor Victor Yamplosky; Beethoven, Barber and Bernstein with the RI Philharmonic Orchestra, March 16-17

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VICTOR YAMPOLSKY, Conductor

“Music making at its most convincing”–Madison Magazine

  • Son of legendary pianist Vladimir Yampolsky.
  • University Professor in Music Performance at the Northwestern University’s Bienen School of Music.
  • Studied violin at Moscow Conservatory and conducting at Leningrad Conservatory.
  • Was a member of the Moscow Philharmonic as both violinist and assistant conductor.
  • Served as Principal Second Violinist of the Boston Symphony Orchestra

Yampolsky appeared with the Rhode Island Philharmonic Orchestra in 1996, leading a program including music from Wagner’s Tannhäuser, Grieg’s Piano Concerto and Schumann’s Symphony No.3.

Buy Tickets

Tickets start at $15 (including all fees), and can be purchased online at tickets.riphil.org, in person from the RI Philharmonic Orchestra Box Office in East Providence, or by phone 401.248.7000 (M-F 9:00am-4:30pm). On day of concerts, tickets are available at The VETS Box Office (Friday, 3:30pm–showtime; Saturday, 4:00pm-showtime). Discounts are available for groups of 10 or more.

RI Philharmonic Music School holds masterclass with Grammy-nominated Cellist Rhonda Rider, March 4

 

Rider Photo
Rhonda Rider

The Rhode Island Philharmonic Music School will present a masterclass with critically acclaimed Cellist Rhonda Rider whose chamber music and solo recordings have been nominated for Grammy Awards. The class will be on March 4 (Sunday) at 2 p.m. at the Music School’s Carter Center, 667 Waterman Ave., East Providence.

 At a Glance

Masterclass with Cellist Rhonda Rider
2:00pm, Sunday, March 4

RI Philharmonic Music School
Carter Center
667 Waterman Ave.
East Providence

For more information

Contact: Chelsea Anderson, canderson@riphil.org, 401.248.7038.

About Cellist Rhonda Rider: Currently, she is a member of the celebrated trio Triple Helix and a founding member of the Naumburg Award-winning Lydian Quartet. Her chamber music and solo recordings have been nominated for Grammy Awards and cited as Critic’s Choice in both the New York Times and Boston Globe. As a chamber musician, she has won numerous prizes at Banff, Evian, Fischoff and Portsmouth competitions.

Ms. Rider has given masterclasses at schools including Yale School of Music, Oberlin Conservatory, New England Conservatory and Princeton. She has served as a panelist for the National Endowment for the Arts, the American String Teachers Association and Chamber Music America.

Rider holds degrees from Oberlin and Yale. Her teachers have included the renowned cellists Aldo Parisot, Zara Nelsova and Richard Kapuscinski; chamber music coaches have included Robert Koff, Simon Goldberg, Raphael Hillyer and Louis Krasner. She is currently the Chair of Strings and a member of the cello faculty for Boston Conservatory at Berklee and Boston University.

The Rhode Island Philharmonic Music School encourages lifelong engagement with music through comprehensive music education and community partnership programs taught by Orchestra members and outstanding faculty. Quality, access, diversity and collaboration are the Music School’s core values. If you have any questions, call 401.248.7001 or email cartercenter@riphil.org.

 

Beethoven, Barber and Bernstein with Conductor Victor Yampolsky, March 16-17

Pianist Spencer Myer performs Bernstein’s Age of Anxiety Symphony

VICTOR YAMPOLSKY B9318241538Z.1_20150727181101_000_G0TBFE5E5.1-0
VICTOR YAMPOLSKY, conductor

The Rhode Island Philharmonic Orchestra welcomes guest conductor Victor Yampolsky to The VETS stage for Barber’s Essay No.2, Beethoven’s Symphony No.7, and Bernstein’s Symphony No.2 (The Age of Anxiety), featuring soloist Spencer Myer on piano. The TACO Classical Concert is Saturday, March 17, 8:00pm; the Amica Rush Hour Concert is on Friday, March 16, 6:30pm.

“We’re looking forward to the upcoming program with Victor Yampolsky on the podium, and Spencer Myer on the piano. Victor came to the United States from the Soviet Union in 1973 to study conducting at Tanglewood at the invitation of Leonard Bernstein. He and Spencer will team up on Bernstein’s Age of Anxiety for piano and orchestra. Paired with works by Barber and Beethoven, it is a wonderful night of music.”
David Beauchesne
Executive Director, RI Philharmonic Orchestra & Music School

Beethoven’s Seventh!
TACO Classical Concert
Saturday, March 17, 8:00pm
The VETS

Victor Yampolsky, guest conductor
Spencer Myer, piano
BARBER: Essay No.2
BERNSTEIN: Symphony No.2 (The Age of Anxiety) for Piano and Orchestra
BEETHOVEN: Symphony No.7

Beethoven’s Seventh!
Amica Rush Hour concert
Friday, March 16, 6:30pm
The VETS

Victor Yampolsky, guest conductor
BARBER: Essay No.2
BEETHOVEN: Symphony No.7

Buy Tickets

Tickets start at $15 (including all fees), and can be purchased online at tickets.riphil.org, in person from the RI Philharmonic Orchestra Box Office in East Providence, or by phone 401.248.7000 (M-F 9:00am-4:30pm). On day of concerts, tickets are also available at The VETS Box Office (Friday, 3:30pm–showtime; Saturday, 4:00pm-showtime). Discounts are available for groups of 10 or more.

About Victor Yampolsky, guest conductor
Yampolsky studied conducting at the Leningrad Conservatory and violin performance at the Moscow Conservatory. He holds honorary doctorates from the University of Nebraska and Doane College in Crete, Nebraska. Born in the Soviet Union, he is the son of the legendary pianist Vladimir Yampolsky, and he studied violin at the Moscow Conservatory and conducting at the Leningrad Conservatory. He was a member of the Moscow Philharmonic as both a violinist and assistant conductor.

Yampolsky serves as the Carol F. and Arthur L. Rice Jr. University Professor in Music Performance at Northwestern University, Music Director of the Peninsula Music Festival in Door County, Wis., Music Director Emeritus of the Omaha Symphony, and Honorary Director of the Scotia Festival of Music, Nova Scotia, Canada. In 1977, Yampolsky became music director of the Atlantic Symphony Orchestra in Halifax, Nova Scotia, and the conductor of the Young Artists Orchestra at Tanglewood. Two years later he was appointed Adjunct Professor of Violin and Director of Orchestras at the Boston University School of Music. He has been principal conductor of the National Symphony Orchestra in Johannesburg and music director of the Omaha Symphony. In 2002, he led the Omaha Symphony in its debut recording, Take Flight, and the following year in the world premiere of Philip Glass’ Second Piano Concerto, which received an award from the Nebraska Arts Council. A dedicated educator, he has taught at the State Conservatory of St. Petersburg, Stellenbosch Conservatory, the Cape Philharmonic Youth Orchestra in Cape Town, Emory University, and the universities of Akron, Victoria and Nevada.

CL 6 Spencer Myer soloist
SPENCER MYER, pianist

About Spencer Myer, pianist
Myer’s current season debuts include the Rhode Island Philharmonic, Arizona’s Flagstaff Symphony, and Colorado’s Grand Junction and Longmont Symphony orchestras. He had return engagements with the Duluth Superior and Southeast Iowa symphony orchestras. He is half of the Daurov/Myer Duo, having teamed up with the award-winning cellist Adrian Daurov in 2012. Myer’s orchestral, recital and chamber music performances have been heard throughout the United States, Canada, Europe, Africa and Asia.

He has been a soloist with the Boise, Dayton, Evansville and Louisiana philharmonic orchestras, Boston’s Pro Arte Chamber Orchestra, the Altoona, Baton Rouge, Bozeman, Canton, Chattanooga, Duluth Superior, Indianapolis, Juneau, Knoxville, Macon, Missoula, New Haven, Phoenix, Ridgefield, San Juan, Santa Fe, Springfield (MA, MO, OH), Traverse, Tucson, Wyoming and Beijing’s China National symphony orchestras, and Cleveland, Indianapolis and Ohio’s ProMusica chamber orchestras, New York City’s Park Avenue Chamber Symphony, Mexico’s Orquesta Filarmónica de Jalisco, South Africa’s Cape Town and Johannesburg philharmonic orchestras. His 2005 recital/orchestral tour of South Africa included a performance of the five piano concerti of Beethoven with the Chamber Orchestra of South Africa, followed by return orchestra and recital tours in 2008, 2010, 2012 and 2015. Myer is a Steinway Artist. “Superb playing” and “poised, alert musicianship”—The Boston Globe
“Definitely a man to watch”—The Independent

About the concert: stories behind the music
Samuel Barber (1910-1981)
Essay No.2

Important American composer: In 1942, at the age of 32, Barber had become established as a significant U.S. composer. As a highly regarded graduate of the Curtis Institute, he had garnered key commissions and premieres from conductors such as Arturo Toscanini, and he had traveled and worked extensively throughout Europe. In 1939, Barber returned to Curtis to teach but left three years later, and never taught again. It was during his years at Curtis that he completed Essay No.2.
An elongated sequel: As a sequel to Barber’s First Essay, the second is longer, more complex, less based in one key and less focused on its main theme. It was a commission from conductor Bruno Walter, who premiered the work with the New York Philharmonic in April 1942.
Listen for this: The slow concluding section begins as an intense hymn for strings. Then, in the full orchestra, it evolves into a grand, tragic statement crowned by tense high pitches until the final major chord.

Leonard Bernstein (1918-1990)
Symphony No.2 (The Age of Anxiety) for Piano and Orchestra

Inspired by a dark poem: Not five years after the resounding 1942 success of his First Symphony, Bernstein was at work on his second. This was based on W.H. Auden’s The Age of Anxiety: A Baroque Eclogue, which Bernstein had read during the summer of 1947. In the words of analyst Peter Gradenwitz, “The poem paints a terrifyingly depressing picture of post-World War II youth, the loneliness and despair of contemporary life….” Bernstein’s use of the piano in the symphony stemmed from his personal identification with the poem, the “essential line” of which he summarized as “our difficult and problematical search for faith.” The work is heavily programmatic and, at times, theatrical.
In his own words: For the 1949 premiere (in which he played the piano part himself), Bernstein provided extensive program notes. For the Prologue, musically, it is, he wrote, “a very short section consisting of a lonely improvisation by two clarinets, echo-tone, and followed by a long descending scale which acts as a bridge into the realm of the unconscious….”
Listen for this: The Epilogue’s formal beginning, representing “something pure,” presents trumpet and strings in what leads to a solemn chorale (hymn). The agitated piano cadenza interrupts, but the orchestra returns with impassioned phrases, leading to a climax in which the “piano-protagonist…seizes upon it with one eager chord of confirmation,” Bernstein wrote.

Ludwig van Beethoven (1770-1827)
Symphony No.7 in A Major, Op.92

A victory: The expression “from the sublime to the ridiculous” could have applied to the 1813 concert program in which Beethoven’s Seventh Symphony was premiered. It began with the new symphony that the master had touted as “one of my best” (an opinion he later maintained). It concluded with the orchestral version of Beethoven’s Wellington’s Victory (the “battle symphony”). Contemporary reports confirm that the event was a great triumph for Beethoven, and that the second movement of the Seventh Symphony even had to be encored.
Several unique features: Unlike the Fifth, each movement of the Seventh finds its own unique rhythm to generate themes. From the “Pastoral” Symphony, the Seventh inherits a celebration of Nature. In the Sixth, this often took the form of reflection and quiet reverence, but in the Seventh, it is a vibrant, life-affirming paean.
Listen for this: The sunny and exhilarating Scherzo movement comes at the right time, with a main section that features a bouncy quality and broad wit. However, a recurring contrast section stops that dance motion for a time, giving the music a magical, time-suspended quality. Beethoven’s rhythmic impulse returns in the dance-like finale.