Raleigh Civic Chamber Orchestra by Levone


									music@nc state in conjunction with the raleigh civic symphony association presents

French Delights 2
SUNDAY, APRIL 27, 2008 | PM Stewart Theatre

Raleigh Civic Chamber Orchestra
Randolph Foy, Conductor
Kevin Streich, clarinet Yeeren and Yeeray Low, pianos

Première Rhapsodie (1910)
Kevin Streich, clarinet

Claude Debussy (1862-1918)

Le boeuf sur let toit, op. 58 (1919)

Darius Milhaud (1892-1972)


Concerrto pour deux pianos (1932) Allegro ma non troppo Larghetto Finale
Yeeren and Yeeray Low, pianos

Francis Poulenc (1899-1963)

The taking of photographs or the use of any kind of recording device is strictly prohibited. Please silence or turn off any cell phones or pagers. No text messaging during the performance.



FREnCH MUSIC AnD EARLY MODERnISM In his new book on twentieth-century music, The Rest Is Noise, Alex Ross suggests that two paths in modernism developed in the early years of the 20th century—one German and one French. The French “alternative modernism” would …reach maturity in the stripped-down, folk-based, jazz-happy, machine-driven music of the twenties. In essence, two avant-gardes were forming side by side. The Parisians were moving into the brightly lit world of daily life. The Viennese went in the opposite direction, illuminating the terrible depths with their holy torches. (45) This French style called neo-classicism took root in the 1920’s with origins reaching back to the works of Debussy and Erik Satie. It rejects the angst and complexities of the Viennese composers Schönberg, Berg, and Webern, and delights in tonalities and simplicities that are connected to every-day life and have an immediate appeal. The principal proponents of this French style were Darius Milhaud, Francis Poulenc, Maurice Ravel, the adopted Igor Stravinsky, and even American students of Nadia Boulanger, including Aaron Copland and Roy Harris. DEBUSSY – PREMIèR RHAPSODIE By 1910, Debussy had become a member of the musical establishment against which he had protested earlier in his career. His role as adjudicator of performance examinations at the Paris Conservatoire spurred a deeper interest in the technical and sonorous possibilities of various instruments. In 1910 he composed two pieces for performance exams for clarinet students—a Petite Piece and the Premièr Rhapsodie, both originally for clarinet and piano. A year later, the composer orchestrated the Rhapsodie and remarked “This piece is among the most pleasant I have ever written.” MILHAUD – LE BOEF SUR LE TOIT Since the early years of the century, Paris was abuzz about le jazz. The source was African-American and the new style intrigued many composers including Debussy, Ravel, Stravinsky, and Milhaud. But Milhaud also had the opportunity to fall in love with another popular music with African origins— the Latin music of Brazil. During WWI, Milhaud, then in his early 20’s, worked as an attaché to the French embassy in Rio de Janeiro, translating coded war messages. While he was there, he reveled in the local music and composed several works including “Saudades do Brazil.” After his return to Paris, he produced another fantasy on Brazilian motifs Le Boef sur le toit for small orchestra, in which he “assembled a few popular melodies, tangos, maxixes, sambas, even a Portuguese fado, and arranged them with a rondo-like theme recurring between each successive pair.” The work’s title came from a Brazilian popular song, and Milhaud added the subtitle “Cinéma-fantasie” because he “thought that the character of this music might make it suitable for an accompaniment to one of Charlie Chaplin’s films.” In his return to Paris, Milhaud liked to have a Saturday evening on the town with musician friends. They met first in his home, but as the crowds became too large over time, they group moved to a club that eventually renamed itself “Le boef sur le toit” in honor of Milhaud’s piece. American composer Virgil Thompson described it as “a not unamusing place frequented by English upper-class bohemians, wealthy Americans, French aristocrats, lesbian novelists from Roumania, Spanish princes, fashionable pederasts, modern literary & musical figures, pale and precious young men, and distinguished diplomats towing bright-eyed youths.” Everyone from Picasso to Maurice Chevalier joined the hilarity. Cocteau sometimes sat in on drums. (Ross, 102)

This wide cast of characters at the club is not unlike the musical images in Milhaud’s piece—some superficially straightforward co-existing with oddballs and exotics. Musically, at times two keys are played simultaneously by different instruments—bi-tonality. Formally, the “rondo-like theme” returns in each of 12 keys, charting a dance-journey of repetition interspersed with 24 contrasting dream-dance interludes, followed finally by a coda. POULEnC – COnCERTO POUR DEUX PIAnOS Two strands exist in Francis Poulenc’s music throughout his long carreer— the profane and religious. His biographer, Claude Rostrand, remarked “In Poulenc there is something of the monk and something of the rascal’. These strands come perhaps from each of his parents. His father was a provincial businessman and devout Catholic who directed a family pharmaceutical business which eventually became the giant Rhône-Poulenc. His mother, Jenny Royer, was from a family of distinguished Parisian artist-craftsmen. She was an amateur musician, possessed an adventurous spirit and encouraged Francis’s joy of music. By the 1920’s, a new group of composers emerged challenging the old order. They came to be labeled “Les Six,” and included Poulenc, Darius Milhaud, Arthur Honegger, Louis Durey, Germaine Tailleferre, and Georges Auric. Through this adventuresome time, Poulenc established a career as a free spirit (“Les Biches” —ballet for Diagilev) and craftsman through numerous small chamber works. Poulenc had a complex personal life which increasingly becomes mirrored in compositions of depth in the 1930’s, when he turned back to devout Catholicism and religious compositions. He suffered his first serious bout of depression in the late 1920s, at about the time he became fully aware of his homosexuality. He was permanently scarred by the death of Raymonde Linossier in 1930. His letters reveal that she was the only woman he ever wanted to marry. Throughout his life, his letters testify to the complexity of his emotional life, which was closely bound up with his creativity; they also reveal the existence of a daughter, born in 1946. Subject to a manic-depressive cycle, Poulenc always rebounded from depression into phases of enthusiasm, and was possessed successively by doubt and contentment. (Myriam Chimènes, Grovemusic) The concerto for two pianos dates from 1932 and is a fine example of French neo-classicism in its formal clarity and new tonal harmonies. There is the clear influence of jazz in the last movement, and in others, perhaps even a nod toward the Javanese gamelan heard at the 1931 Colonial Exhibition in Paris. In one sense, it is pure entertainment music exploring the joy of pianistic writing with orchestral interweavings. On another level, there are many moments that juxtapose the banal with the profound, each of which is treated as an ephemeral state vanishing in the light Parisian air. –notes by Randolph Foy ABOUT THE SOLOISTS Kevin Streich earned his Doctorate in Clarinet Performance from Michigan State University, where he studied with Elsa Ludewig-Verdehr. His other teachers include Linda Bartley, Margaret Donaghue, Sir Colin Lawson, Peter Jenkins, and Charles Neidich. He performs regularly with the North Carolina Symphony Orchestra and is principal clarinetist with the Raleigh Civic Chamber Orchestra. He has also appeared with several orchestras in Connecticut, Massachusetts, Wisconsin, Michigan, and Arkansas. He teaches privately and recently was a member of the Instrumental Music Faculty of NC Governor’s School East.

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Yeeren and Yeeray Low, ages 11 and 13, are recent residents of the Raleigh area. In December they moved with their family to Pennsylvania to continue studies at the Juilliard School Pre-College division in New York. Both are home-schooled. Both boys were accepted into Juilliard Pre-College last August and have been attending classes on Counterpoint, Music Theory, Ear Training, Chorus, Composer’s Forum, etc. since last fall. Currently, they are composition majors at Juilliard Pre-College studying with Dr. Ira Taxin who is the Theory Chair at Juilliard. They minor in piano study with Ms. Zitta Zohar and violin study with Mr. Isaac Malkin. Yeeren Low was born in Chapel Hill, North Carolina. He is now 11 years old and in 8th grade homeschool. He began his piano and violin studies at age 3 and started composing immediately, using his own self-invented special notation system. Before age 4, he could sight read music and compose with proper musical notation. He played violin in the Piedmont Youth Junior Orchestra and chamber music at age 5. He learned to play the viola at age 7, and cello at age 8 as an exploratory instrument. Yeeren has won numerous awards for his piano, violin, ensemble, and composition achievements. He was awarded first place in the junior division of the Peter Perret Youth Talent Search in 2005 and 2006, and had performed in three concerts as a soloist with the Winston-Salem Symphony Orchestra. He also won 2nd place in this contest in 2007. His Piano Quintet in three movements won the national first prize for Class I of the 2006 National Federation of Music Clubs (NFMC) Junior Composers Contest. He also won the national second prize in this contest in 2005. His Toccata was a finalist in the 2007 American Society of Composers, Authors and Publishers (ASCAP) Morton Gould Young Composers Awards. He soloed on the violin with the Raleigh Civic Symphony Orchestra (RCSO) last fall.

Yeeray Low was born in Singapore. He moved to Chapel Hill, North Carolina with his family when he was 8 months old. He is now 13 years old and in 8th grade homeschool. He started playing the piano, violin and viola at age 4, 6, and 9 respectively. He played violin in the Piedmont Youth Junior Orchestra and chamber music at age 7. He learned to play the viola at age 9, and cello at age 10 as an exploratory instrument. Yeeray also has won numerous awards for his musical achievements. In 2006, he was named the North Carolina state winner of both the Music Teachers National Association (MTNA) Junior Piano Performance Competition, and MTNA Junior Composition Competition. He was an Honorable Mention at the Southern Division of both the 2007 MTNA Junior Piano Competition and 2007 MTNA Junior Composition Competition. He was named winner of the 2007 Loren Withers Piano Competition. He was awarded second place in the junior division of the North Carolina Symphony Youth Concerto Contest in 2006 and 2007. His first Piano Quartet in three movements was awarded national second place for Class II of the 2006 NFMC Junior Composers Contest. His second Piano Quartet was awarded national second place in this contest in 2007. The boy’s former piano teachers include Ms. Jennifer Hancock and Mr. John Ruggero. Their former violin teachers include Ms. Karen Moorman, Ms. Emily Steele, Dr. Mary Frances Boyce, Dr. Richard Luby and Mr. Yoram Youngerman. Their former composition teacher is Mr. John Ruggero. Both boys love to read music scores of various genres and books about music theory, composition, orchestration, composers, etc. They have been playing duo and accompanying each other since the early days of their music education. They enjoy mathematics, science, swimming, working and playing on the computer, constructing things, and playing with their younger brother, Yeechian, who is 7 years old.

RALEIGH CIVIC CHAMBER ORCHESTRA Violin I Lindi Wang, concertmaster Carol Akers Makiko Border Lawrence Evans Johanna Krahmer Violin II Ted Wagner, principal Ben Aldridge Jamie Grether Francine Hunter Christine Wu Viola Sally Mullikin, principal Kristen Sinclair Nicolle Tulve Cello Mark Foster, principal Michael Bridgers Bass Jessica Birckhead, principal Percussion Candy Pahl Harp Winifred Garrett Flute Mary Mitchell, principal Stephanie Couvreur Oboe Kristen Turner, principal Wesley Knapp English Horn Janet Shurtleff Clarinet Kevin Streich, principal Sam Morris Bassoon Russ Hill, principal Jessica Kunttu Horn Bill McHenry, principal Matt McLaughlin Trumpet Don Eagle, principal Ramon Kenan Trombone Scott Smith, principal Scott Bailey Tuba David Garrett

The Raleigh Civic Symphony and Chamber Orchestra are the student-community orchestras of NC State University, with over 100 players presenting seven concerts each season both on campus and in the community, supported by Music@NC State in conjunction with the Raleigh Civic Symphony Association. RALEIGH CIVIC SYMPHOnY ASSOCIATIOn Randolph Foy, Music Director Mary Sherk, Executive Director Adam Burke, President Carol Akers, Jessica Birckhead and Daniel Claff, student assistants



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WE THAnK OUR SPOnSORS The Raleigh Civic Symphony and Chamber Orchestra are sponsored jointly by ARTS NC STATE, through Music@NC State and the Raleigh Civic Symphony Association (RCSA), a non-profit organization. RCSA is supported by the United Arts Council of Raleigh and Wake County, with funds from the United Arts Campaign and the Grassroots Arts Program of the North Carolina Arts Council, and agency funded by the State of North Carolina and the National Endowment for the Arts, which believes that a great nation deserves great art. RCSA is funded in part by the City of Raleigh, based upon the recommendations of the Raleigh Arts Commission.

THAnKS ALSO TO: Annabelle Lundy Fetterman Concertmaster Endowment Matching Employee Contributions from: Art Tech, Hewlett-Packard, IBM Corporation, and Wachovia RALEIGH CIVIC SYMPHOnY ASSOCIATIOn DOnORS
COnDUCTOR ($500 plus) IBM Corporation Community Grant COnCERTMASTER ($300–499) Ann Wheeler Grigg J. Russell & Linda Hill Patrick Liu Deborah & Theodore Wagner SECTIOn LEADER ($100–299) Anonymous Anonymous Tamara Anderson Mike & Sandra Birckhead Michael Bridgers Adam Burke John Dolan Michael & Laura Ehlers Randolph Foy Denise Franz David Garrett Jim & Sue Ann Jatko John & Nancy Lambert Elizabeth Landvater Alan & Janice Lipson Dorothy Lipson Melanie McIlvaine Hjordis Tourian MUSICIAn (under $100) Dr. Nancy Atkins Jeff Cates Cindy Chastang Francine Hunter Harold Jeffreys Jan Lienard Allison Lockwood Julie Mayberry Karen Moorman Mary & Eric Sherk Kristen and Geoff Sinclair Margaret Smith Robert Upchurch

Raleigh Civic Symphony Association
is a proud recepient of funding from
United Arts Council of Raleigh and Wake County

United Arts Contributors
Circle of Stars ($100,000+)
County of Wake and Employees* North Carolina Arts Council

Sustainers ($5,000+)

Platinum Partners ($75,000+) Gold Partners ($55,000+)

Capitol Broadcasting Company and Employees The Goodnight Educational Foundation The News & Observer and Employees* Wake County Public Schools and Employees Jonathan R. Workman and Vanessa S. Albernaz, in memory of Robert E. Workman

An umbrella fundraising organization that raises money from individuals, businesses and government entities to provide arts programming, arts services and arts education throughout Wake County.
In 2006-2007, the funds raised helped underwrite:
• 63 theatre performances. • 200 music and dance concerts. • 170 art exhibitions. • 133,000 hours of arts programming in 132 Wake schools. • 124 arts performances in Wake K-12 schools. • 76 writer-in-residence programs in Wake K-12 schools. • 68 artist residencies/workshops in Wake K-12 schools. • 44 opera or chamber music performances.

Silver Partners ($25,000+)

Bank of America, N.A. and Employees First Citizens Bank & Trust Company and Employees GlaxoSmithKline Progress Energy Company and Employees

Alltel Anderson Homes BB&T Corporation AT&T North Carolina Brooks, Pierce, McLendon, Humphrey & Leonard LLP and Employees Capital Bank Corporation Container Graphics Corporation Deloitte & Touche and Employees Drucker & Falk LLC Gateway Bank Joseph C. Woodard Company* Manpower Merrill Lynch RBC Centura Smith, Anderson, Blount, Dorsett, Mitchell & Jernigan and Lawyers & Staff Wyrick Robbins Yates & Ponton LLP and Employees The York Companies

Investors ($10,000+)

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Applebee’s Neighborhood Grill & Bar Belk, Inc. – Northern Division Blue Cross & Blue Shield of North Carolina Golden Corral and Employees SunTrust Bank Time Warner Cable/News 14 Carolina Wachovia Foundation and Wachovia Employees WakeMed

Plus 50 additional businesses and 3,000 individual donors gave up to $4,999 *Includes in-kind donations


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