Support Northern New Jersey'sFinest Chamber Orchestra!

Innovative programs, world-class conductors and soloists,and great music for our community!

Th e ACO operates on a lean budget. Your generous contributionsallow us to continue to give the gift of music!

Become a Patron for the 2012–2013 Season

Adelphi Chamber Orchestra · PO BOX 262 · River Edge, NJ 07661

Th e Adelphi Chamber Orchestra is a not-for-profi t Corporation in the State of New Jersey, and is tax-exempt under Section 501@(3) of the International Revenue Code. All gift s are tax-deductible to the fulest extent of the IRS Code.

Join our Email List!www.ACONJ.org

We will send you a concert reminder

Yes, I want to support the ACO’s Free Concerts!

Please make my gift in Memory Honor of: _____________

$50 $100 $250 $500 Other $ ______________

Notify (name): ________________________________________

Contribute to Th e Musical Chairs Drive

Name the Podium ($500) Concertmaster Chair ($250)

Principal Chair ($150) Any Other Chair ($75)

Listing in the program: Yes No Name: ____________________

Name: _________________________________________________

Address: ________________________________________________

Phone: ____________________ Email: _______________________

Please send me more information on Volunteering Planned Giving

January 20, 2013 at 4:00 pmRiver Dell Regional High School, Oradell, NJ

PO Box 262 · River Edge, NJ 07661

Rare Gems

ACONJ.ORGCelebrating Our Fift y-Ninth Season

Eric Dudley, Conductor

Robert Deutsch, Cellist

Rare Gems

January 20, 2013 at 4:00 pmRiver Dell Regional High School, Oradell, NJ

Eric Dudley Conductor

Idomeneo Overture, K 366 W.A. Mozart1756–1791

Concerto for Cello in B fl at major, G. 482 L. Boccherini 1743–1805

I. Allegro moderatoII. Andante grazioso

III. Rondo: Allegro

Robert Deutsch Cello

• Intermission •

Symphony no 1 in C minor, Op. 11 F. Mendelssohn1809–1847

I. Allegro di moltoII. Andante

III. Menuetto: Allegro moltoIV. Allegro con fuoco

Please turn off all cell telephones, pagers, or other audible electronic devices before the concert begins. Audio or video recording of any kind, or photograpy are not allowed dur-ing the performance without express permission from the Adelphi Chamber Orchestra.

Sunday Aft ernoon Concerts 2012–13Mar 24 2013 — 3:00 pm

Pascack Valley Regional High SchoolDiane Wittry, Conductor • Alice Burla, Piano

May 5 2013 — 4:00 pmRiverdell Regional School District Auditorium

Celebration of Opera and Anniversaries: Richard Owen Jr., ConductorWorks of Verdi • Mascagni • Wagner • Poulenc

Karen Foster, Soprano

Community Outreach Concerts: Adelphi Chamber Ensemble

Feb 24 2013 — 2:00 pm Mahwah Public LibraryApr 21 2013 — 3:00 pm Teaneck Public Library

A Prudential financial professional can assess your situation. Draw up a plan. And help you build a secure future. To learn more, call me today.

Insurance and annuities issued by The Prudential Insurance Company of America, Newark, NJ and its affiliates. Securities products and services are offered through Pruco Securities, LLC. Each company is solely responsible for its own financial condition and contractual obligations. Prudential, the Prudential logo and the Rock symbol are service marks of Prudential Financial, Inc. and its related entities. 0223058-00002-00

INVESTMENTS I INSURANCE I RETIREMENT

Evan Ardelle Financial Professional Associate Prudential Financial The Prudential Insurance Company of America 11 Sunflower Avenue Paramus, NJ 07652 Office 201-632-2279 evan.ardelle@prudential.com www.prudential.com/us/evan.ardelle

YOU’D NEVER BUILD A HOUSE BY YOURSELF,

SO WHY BUILD YOUR FINANCES THAT WAY?

Orchestra Members

Violin 1Melissa Macy*Alexandra WilsonSylvia RubinAmelia DeSalvio

MucciaClaire KapilowRachel MatthewsJina ChoiGenevieve R. Jeuck

Violin 2Chelsea Merriman*Karin PollokDana Reedy-GaglerEllie LipkindAntonis PanayotatosLise DecoursinAlice Yoo

ViolaRuth Demarco-Conti*Mary Kay BinderRoland HutchinsonSusan SalzmanKarin SatraGigi Jones

Audio EngineerVincent Troyani

CelloErika Boras Tesi*Anne TaylorPaul Vanderwal Mark SerkinPeter Lewy

BassJay VandeKopple*David Muleski

FluteCarron Moroney*Natasha Loomis

OboeLinda Kaplan*Nancy Vanderslice

ClarinetRichard Summers*Caren Davis

BassoonRobert Quinn*Jessica Frane

French HornCarolyn Kirby*Deloss Schertz

TrumpetRoger Widicus*Anthony Fenicchia

TimpaniJames Mallen

*PrincipalsRotating Seating Among Sections

Eric Dudley, Conductor

Eric Dudley leads a diverse musical career in New York City as a conductor, singer, pianist and composer. Aft er highly successful tenures as assistant conductor for the Cincinnati Symphony Orchestra under Paavo Järvi and the Princeton Symphony Orchestra under Rossen Milanov, his recent conducting engagements include touring and recording with New York’s Inter-national Contemporary Ensemble and guest conduct-ing the Camerata Orchestra (Bloomington, Indiana) and Arcko Symphonic Ensemble on the Melbourne International Arts Festival in Australia. He also enjoys

work as an educator and conductor of young ensembles on a regular basis, in-cluding the Mannes Prep Philharmonic and the InterSchool Orchestras (ISO) of New York.

He is a full-time member of the acclaimed choir of Trinity Wall Street Church, where he has also served as chorusmaster, assistant and guest con-ductor for several of the Trinity Choir and Baroque Orchestra’s concert en-gagements. He performs regularly with Musica Sacra, Th e New York Virtuoso Singers, Th e Collegiate Chorale, Seraphic Fire (Miami, FL) and Bard Summer-scape Opera, and has appeared as a tenor soloist with the American Symphony Orchestra and Trinity Baroque Orchestra at both Lincoln Center and Carnegie Hall. He has collaborated as a pianist and chamber musician with members of the Cincinnati, Princeton and Albany symphony orchestras, and his compo-sitions have received premieres by the Hartford Symphony Orchestra, Quey Percussion Duo, and the ground-breaking vocal group Roomful of Teeth, of which he is a founding member. He studied composition, piano and voice at the Eastman School of Music, and trained as a conductor at the Brevard and Aspen music festivals and as a recipient of his Master’s and Doctoral degrees from Yale.

Robert Deutsch

Born and raised in Miami, Florida, Robert Deutsch made his solo debut with the Miami Symphonic So-ciety at the age of 17. He studied with Aldo Parisot at the New England Conservatory of Music where he earned his Master of Music degree. While studying in Boston, he also participated in master classes with Mstislav Rostropovitch and chamber music studies with Rudolph Kolisch. He has been heard in summer festivals in Colorado and Florida and in recital in such cities as Boston, New York, Miami, and Tulsa. He also has been heard in national broadcast with American

composer Gunther Schuller on PBS television. Mr. Deutsch has held the posi-tion of Principal Cello with the New England Conservatory Symphony, Th e Springfi eld, Mass. Symphony, the Tulsa Philharmonic, Th e Fort Lauderdale Symphony Orchestra, and the Greater Miami Opera Orchestra. He has also held the Associate Principal position with the Miami Philharmonic. He joined the Houston Symphony in 1976 and retired from this position aft er a thirty year career. He has been heard as soloist with the HSO performing concerti by Saint Saëns and Haydn. He has also been a featured soloist with the Galveston Symphony and Houston Civic Symphony in concerti by Haydn, Boccherini, Schumann, Dvorak, and Benjamin Lees. In 1986, he performed the Houston premiere of the Miaskovsky C Minor Concerto Cello Concerto with the Civic Symphony of Houston and has given Master Classes in several cities, including Miami Florida, Memphis Tennessee, Boulder Colorado, Shanghai China, and Morristown, NJ. He has taught Cello and Chamber Music at the University of Tulsa. Currently, Mr. Deutsch leads the cello section of the Adelphi Chamber Orchestra and teaches cello privately in Ledgewood, NJ. He spends his spare time performing chamber music, solo recitals and as a collector and restorer of fi ne string instruments for which he maintains the website Stringnet.com.

Program NotesIdomeneo Overture, K 366: Idomeneo, Mozart’s fi rst great opera, was the result of a commission from the Elector Karl Th eodor of Bavaria. In 1778, the Elector had moved his court to Munich from Mannheim, where Mozart stayed nearly six months during his journey to Paris. By the time he commenced work on the opera in October 1780, Mozart, not yet 25, already had nine operas to his credit.

Th e libretto chosen had been set by French composer André Campra nearly 60 years earlier; for Mozart’s purposes it was revised by Gianbattista Varesco, a Salzburg chaplain. Set on the island of Crete, it recounts the legend of the return of the Cre-tan king, Idomeneo, to his homeland at the end of the Trojan War. Beset by a storm, Idomeneo promises Neptune a human sacrifi ce if he and his crew are saved. Th at the potential sacrifi ce turns out to be the king’s own son, Idamante, becomes the central confl ict of the drama.

One of the great glories of the work is the orchestration. Mozart obviously relished writing for the large and outstanding orchestra attached to the Elector’s court, many of whose members had formerly belonged to the Mannheim orchestra, the fi nest in Europe. Th e score he produced includes pairs of fl utes, oboes, clarinets, and bassoons along with four horns, two trumpets, three trombones, and strings; it is the richest of all his operatic scores, and it drew contemporary criticism for being “too much fi lled up with accompaniments.”

Idomeneo was given its fi rst performance at the Residenz Th eater on January 29, 1781; the spectacular staging was particularly praised in the sole contemporary ac-count that was preserved. Th e opera was not taken up elsewhere, doubtless in part due the demanding orchestral writing, but also because its mixture of Italian and French styles was confusing to contemporary expectations. Mozart did adapt and revive the opera in Vienna in 1786, but Idomeneo has had to wait until the twentieth century to be fully accepted into the repertory.

Th e overture to Idomeneo portrays both the nobility of the “opera seria” characters (Gods, heroes, and nobles) and the stormy nature of the plot, even though it is in a ma-jor key. Originally, it elides directly into the opera, but the version heard this aft ernoon has a concert ending composed by Carl Reinecke.

From All Music Guide

Concerto for Cello in B fl at major, G. 482: Luigi Boccherini’s Cello Concerto No. 9 in B fl at Major, G. 482 was written in either the late 1760s or early 1770s. Boccherini, a tal-ented cellist, composed twelve concertos for his instrument. German cellist Friedrich Grützmacher chose this concerto to be arranged to fi t the style of a Romantic virtuoso concerto, in 1895, and in this form, widely heard, it bears only a tenuous resemblance to the original manuscript.

Th e Boccherini Ninth Cello Concerto has long been an integral part of standard cello instruction, because of creeping use of the full 4+ octave range of the cello, rather than large jumps between diff erent fi nger positions.

Grützmacher merged Boccherini’s Ninth Cello Concerto with other Boccherini Cello Concertos. Besides the extensive cuts in the outer movements, Grützmacher de-cided to rid the Concerto of its original second movement, replacing it with that of the Seventh Cello Concerto (in G Major, G. 480). Th e Fourth Cello Concerto (in C Major,

Congratulates theAdelphi Chamber Orchestra

on its 59th season! 70 Hatfield Lane, Suite G01 |Goshen, NY 10924 |T: (845) 615-3320

845/368-5181

Bravo Adelphi!We are Proud to Support the Adelphi Chamber Orchestra

as They Celebrate of Free Concerts.

For Over 80 Years Bergen County Residents Have Relied on Millers Skilled and Accessible Pharmacists and Their Many Specialized Services.

The newly renovated Millers Pharmacy Offers:

201.891.3333 678 Wyckoff Avenue Wyckoff, NJ 07481millerspharmacy.com Follow us on Facebook

Monday – Friday 9AM – 8PM, Saturday 9AM – 4PM

59 years

BraWe are Proud to Sup

as They Celebrat

For Over 80 Years BergenSkilled and Accessible Pharm

The newly reno

G. 477) makes an appearance in bars 40–46 of the fi rst movement, and in bars 85–96 and 151–163 of the Rondo; borrowing from the respective movements. Th e arpeggios of the Fift h Cello Concerto’s (in D Major, G. 478) fi rst movement are featured in their minor form in bars 47–53 of the fi rst movement. Grützmacher also took the liberty of writing his own cadenzas. Despite all the changes, this Concerto holds up as one of Boccherini’s best known works. English cellist Jacqueline du Pré made a recording of this edition of the Concerto.

Nevertheless, Boccherini’s original work is slowly beginning to resurface. Well-known cellists like Maurice Gendron, Yo-Yo Ma, and Raphael Wallfi sch have all made recordings of this long overshadowed work. Nowadays, the two works are distinguished by their origin: Original vs. arr. Grützmacher.

From WikipediaRobert Deutsch will be performing the original version of the Concerto. Mr.

Deutsch composed the cello cadenzas for this aft ernoon’s performance.

Symphony no 1 in C minor, Op. 11: Mendelssohn wrote his C minor Symphony be-tween March 3 and 31, 1824 when he was only 15, and it is thus about eighteen months earlier than the Octet and two and a half years earlier than the Overture, A Midsum-mer Night’s Dream. He had already composed a dozen “symphonies” for strings, so he labeled the manuscript “No. 13,” but in fact the C minor was his fi rst for full orchestra. He seems to have been better pleased with it than with any other he achieved before the Scotch; whereas he allowed only one performance of the Reformation (1830) and, except in England, none at all of the Italian (composed in 1833 but not published until aft er his death), he positively encouraged performances of the C minor. Th e fi rst was in Leipzig on 1 February 1827 with J.P.C. Schultz conducting, and there were others in London at Philharmonic Society concerts on 25 May 1829 conducted by the composer and on 17 May 1830 conducted by Sir George Smart. On these London occasions, as also for a Munich performance in 1831, Mendelssohn substituted for the Minuet his delightful orchestration of the G minor Scherzo from his Octet, slightly shortened for the symphony. Th is implies that he was not satisfi ed with the Minuet, yet in 1834, when the symphony was published, he let it stand. Modern performances occasionally sub-stitute the Scherzo for the Minuet.

As might be expected, this is the most classical in form of Mendelssohn’s sympho-nies, the one that seems nearest to Mozart and early Beethoven. Infl uences from Mo-zart’s Symphony in G minor K550 can be heard in the Minuet in its use of syncopation, and the sections for woodwinds alone. A feature in the main tune of Mozart’s Finale can be seen to infl uence Mendelssohn’s Finale. Echoes of Beethoven’s Second Symphony and Prometheus Overture can be heard in the fi rst movement, as well as some of We-ber’s ebullience. But infl uences can be detected in most symphonies, and they do not detract from what is an astonishing achievement for a boy of 15.

Th ematic links between movements are less obvious than in Mendelssohn’s slight-ly later Octet, the String Quartets in A minor and E fl at, and the Reformation Symphony, but it is likely that he was already pondering such links, hints of which can be heard in this symphony.

Mendelssohn dedicated the Symphony to the Philharmonic Society of London, and gave them the autograph.

Adapted from Roger Fiske, 1980

Patrons of the Adelphi Chamber Orchestra

Hagop and Sirapi AramChick BarnesCynthia BernsteinBarbara BettigoleJeaninne & Fred FeinsteinMrs. Jon Fellgraff David FeltnerKatie & Ed FriedlandElizabeth HealdClaire & Robert KapilowCarolyn & Paul KirbyPeggy & Al KlaseJoan & Bill KuhnsGerald & Lillian LevinMargaret Cook LevyRuth R. MaierRachel MatthewsMartin MerzbachStanley Miller

Martin PerlmanPerlman family FoundationPerry & Gladys RosensteinLeanore & William RosenzweigDr. David RothConstance R. Schnoll & Alfred

ParanaySylvia & David RubinSam Ash MusicLeta & Stan SabinMarilyn SiegelSigrid & George SnellManny & Janet SosinskyRev & Mrs. L.O. SpringsteenHerb & Gaby StraussNancy VandersliceRobert E. WhitelyPhillip & Lisa Willson

Tributes

In memory of Frank LeeBarbara BettigoleRobert ColwellGlenn Danks

Peggy & Al KlaseJoan & Bill KuhnsCliff & Kathy Lee

Margaret Cook LevyMr. & Mrs. Elmer Omstead

Elmer & Jean OmsteadMartin Perlman

Perlman Family FoundationSylvia & David Rubin

(Violin Chair)Sigrid & George Snell

Rev. & Mrs. L.O. Springsteen(Violin Chair)

Herbert & Gaby Strauss

In memory of Neal BettigoleBarbara Bettigole

In memory of Jules BravermanLeni & Bill Rosenzweig

In memory of Fannie Hardwick Feltner

David Feltner(Viola Principal Chair)

In memory of Edward A. LevyMargaret Cook Levy

In memory of Morton RubinDavid & Sylvia Rubin

In honor of Rick PeckhamDiane Wittry(Bass Chair)

Acknowledgments

Th e River Dell Regional School DistrictFor the Use of the Beautiful High School Auditorium

Th e River Dell Regional School DistrictFor the Use of Rehearsal Space for this concert

The Adelphi Chamber OrchestraThe Adelphi Chamber Orchestra

wishes to express its gratitudewishes to express its gratitude

to all of its volunteers, friends, individual, corporate, and to all of its volunteers, friends, individual, corporate, and

foundation donors, advertisers,foundation donors, advertisers,

River Dell Board of EducationRiver Dell Board of Education

for helping to make all of our programs possible.for helping to make all of our programs possible.

We are looking forwardWe are looking forward

to sharing more music with you this concert season.to sharing more music with you this concert season.