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Transcript of Carnegie Hall Rental - dciny.org · PDF fileMANUEL DE FALLA Ritual Fire Dance from El amor...

Saturday Evening, June 17, 2017, at 7:00Isaac Stern Auditorium / Ronald O. Perelman Stage

Iris Derke, Co-Founder and General DirectorJonathan Griffith, Co-Founder and Artistic Director

presents

Song/PlayCHARLOTTE SYMPHONY YOUTH ORCHESTRA

ERNEST PEREIRA, Director

EMMANUEL CHABRIER Espaa, Rhapsody for Orchestra

JULES MASSENET Ballet Music from Le CidAragonaiseCastillaneCatalaneMadrilneNavarraise

MANUEL DE FALLA Ritual Fire Dance from El amor brujo

JOAQUN TURINA Orga from Danzas fantsticas, Opus 22

Intermission

PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES.

(continued)

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DISTINGUISHED CONCERTS ORCHESTRA DISTINGUISHED CONCERTS SINGERS INTERNATIONAL

CRISTIAN GRASES, Guest ConductorALBERTO GRAU, DCINY Composer-in-Residence

ALBERTO GRAU La Doncella1. Introduccion2. Danza de las Estrellitas3. Danza del Platero4. Danza del Jardinero5. Danza del Sol y La Luna6. Danza de la Doncella7. Valse del la Doncella8. Gran Danza Final

Pause

DISTINGUISHED CONCERTS ORCHESTRA DISTINGUISHED CONCERTS SINGERS INTERNATIONAL

MARA GUINAND, Guest ConductorALBERTO GRAU, DCINY Composer-in-Residence

ALBERTO GRAU La Avispa Brava (WORLD PREMIERE),Courtesy of the DCINY Premiere Project1. Overture2. That day, the wasp.(La avispa aquel da)3. Nothing, nothing, nothing.(Nada, Nada,

Nada)4. White Roses (Rosas blancas)5. Good morning (Buen da)6. Stunned! (Anonadada)7. Blind as she was going. (Ciega como iba)8. Suddenly.. (Repentinamente)9. A small glass (Un vaso pequeo)10. Grumpy face (Mala cara)11. Moral (Moraleja)

We Want To Hear From You!Use #SongPlay to post your pre-concert, post-concert and intermission photos andcomments to @DCINY on Twitter, Facebook, and Instagram! | DCINY

DCINY thanks its kind sponsors in education: Artist Travel Consultants, VH-1 Savethe Music, Education Through Music, High 5 Arts Connections, and WQXR.

For information about performing on DCINYs series or about purchasing tickets, e-mail Concerts@DCINY.org, call (212) 707-8566, or visit our website atwww.DCINY.org.

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Notes ON THE PROGRAMEMMANUEL CHABRIER (1841-1894)Espaa, Rhapsody for Orchestra (7 minutes)

Emmanuel Chabrier was born inAmbert, France, on January 18, 1841,and died in Paris, France, on September13, 1894. The first performance ofEspaa took place in Paris at the Thtredu Chteau dEau on November 4, 1883,with Charles Lamoureux conducting theOrchestre de Socit des Nouveaux-Con-certs. Espaa is scored for piccolo, twoflutes, two oboes, two clarinets, four bas-soons, four horns, two trumpets, twocornets, three trombones, tuba, timpani,tambourine, triangle, cymbals, bassdrum, two harps and strings. Approxi-mate performance time is seven minutes.In 1882, French composer EmmanuelChabrier journeyed with his wife toSpain. In a letter written in November ofthat year, Chabrier told a friend of hisexperiences: Every evening, we go to thecaf concerts where the Malaguenas, theSoledas, the Zapateados and the Peten-eras are sung. Then the dancesIf youcould see them wiggle, unjoint their hips,contort, I believe you would not try toget away! At Malaga the dancing becameso intense that I was compelled to take

my wife away; it wasnt even amusingany moreThis is the picture: twowomen dance, two silly men playitdoesnt matter whaton their guitars,and five or six women howl, with excru-ciating voices and in triple figuresIt isvertiginous, it is unspeakable!All themore cries, the more the dancer laughswith her mouth wide open, and turns herhips, and is mad with her body. WhenChabrier returned to France, heattempted to capture the flavor of thesewild, exotic Spanish nights in Espaa.Chabrier originally composed the workfor piano, later adapting it for orchestra.Espaa received its premiere in 1883,with Charles Lamoureux conducting. Ina letter to Lamoureux, Chabrierdescribed Espaa as an extraordinaryfantasia, muy espaola, based on memo-ries of this wonderful trip. Ill make theaudience move to feverish rhythms, andmy melodies will be so voluptuous thateveryone will end up locked in a giantkiss.

Notes by Ken Meltzer

JULES MASSENET (1842-1912)Ballet Music from Le Cid (15 minutes)

Jules Massenet was born in Montaud,Saint-tienne, France, on May 12, 1842,and died in Paris, France on August 13,1912. The first performance of Le Cid,took place at the Opra in Paris onNovember 30, 1885. The Ballet Musicfrom Le Cid is scored for piccolo, twoflutes, two oboes, English horn, twoclarinets, two bassoons, four horns, twotrumpets, two cornets, three trombones,

tuba, timpani, bass drum, cymbals,snare drum, tenor drum, triangle, tam-bourine, castanets, two harps, andstrings. Approximate performance timeis fifteen minutes. Jules Massenets grandopera Le Cid is based upon a 1637tragedy by Corneille. The premiere,which took place at the Paris Opra onNovember 30, 1885, featured severallegendary singers, including Jean and

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Edouard de Reszke, and Pol Planon.The story of Le Cid takes place in Spainduring the time of the Reconquista. Theyoung knight Rodrigue avenges an insultto his father. But in doing so, Rodriguekills the father of his beloved Chimne.She implores the King of Spain to punishRodrigue. As Rodrigues leadership isneeded in the impending battle againstthe Moors, his punishment is delayed.Rodrigue vows that if he survives, hewill return and submit to whatever sen-tence the King decrees. After the battle,the victorious Rodrigue gives the Kinghis sword. The King, in turn, decreesthat Chimne must impose sentence.Chimne remains torn between her lovefor Rodrigue and devotion to her father.

But when Rodrigue reaches for his dag-ger to kill himself, Chimne stays hishand. Chimnes display of love forRodrigue brings Le Cid to its happy res-olution. In addition to masterful vocalwriting, Massenets operas are notablefor their rich, colorful, and brilliantorchestral palette. A fine example is theBallet Music from Act II of Le Cid,which takes place during springtime, inthe Square of Burgos. The assembledwatch a series of dances that evokeSpains provinces: Aragonaise, Castil-lane, Catalane, Madrilne, Navarraise.

Notes by Ken Meltzer

MANUEL DE FALLA (1876-1946)Ritual Fire Dance from El amor brujo (4 minutes)

Manuel de Falla was born in Cdiz,Spain, on November 23, 1876, and diedin Alta Gracia, Argentina, on November14, 1946. The first performance of Elamor brujo took place at the Teatro Larain Madrid, Spain, on April 15, 1915,with Jos Moreno Ballesteros conduct-ing. The Ritual Fire Dance is scored forpiccolo, two flutes, oboe, two clarinets,bassoon, two horns, two trumpets, tim-pani, piano, and strings. Approximateperformance time of the Ritual FireDance is four minutes. In 1907, Manuelde Falla moved to Paris. He finallyreturned to Madrid in 1914. Thismarked the beginning of an incrediblycreative period for the Spanish composer.Over the next few years, he completedsuch compositions as his work for solo

piano and orchestra, Nights in the Gar-dens of Spain (1915), the Suite populaireespagnole for voice and piano, and theballets El amor brujo (Love, the Magi-cian) (1915), and El sombrero de trespicos (The Three-Cornered Hat) (1919).All of these compositions demonstrateManuel de Fallas masterful and beguil-ing synthesis of classical music and Spanish folk culture. The story of Elamor brujo concerns the beautiful gypsywoman Candlas, who is haunted by herdead lover. The most well-known excerptfrom the ballet is the passionate andseductive Ritual Fire Dance Candlasperforms in an attempt to exorcise herlovers ghost.

Notes by Ken Meltzer

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JOAQUN TURINA (1882-1949)Orga from Danzas fantsticas, Opus 22 (5 minutes)

Joaqun Turina was born in Seville,Spain, on December 9, 1882, and diedin Madrid, Spain, on January 14, 1949.The first performance of the orchestralversion of Danzas fantsticas took placein Madrid on February 13, 1920, withBartolom Prez Casas conducting theMadrid Philharmonic. The Danzas fan-tsticas are scored for piccolo, threeflutes, two oboes, English horn, twoclarinets, bass clarinet, two bassoons,contrabassoon, four horns, three trumpets, three trombones, tuba, tim-pani, glockenspiel, chimes, triangle,tambourine, cymbals, suspended cym-bal, bass drum, harp, and strings.Approximate performance time ofOrga is five minutes. While still in histeens, Joaqun Turina established him-self in his native Seville both as acomposer and pianist. Turina latermoved to Madrid, where he studiedpiano at the Real Conservatorio Supe-rior de Msica. In 1905, Turina movedto Paris. Two years later, Turinaappeared as pianist in a Paris perfor-mance of his Piano Quintet, Opus 1. In

the audience was Spanish composerIsaac Albniz. After the hearing theQuintet, a work very much in theFrench classical tradition, Albniz coun-seled Turina to look to Spanish folkmusic for inspiration. Turinas friend,Spanish composer Manuel de Falla, hadpreviously offered similar advice. Turinaagreed, and embarked on a path thatproduced many of his most belovedworks. Upon his return to Spain in1914, Turina established himself as ahighly influential composer, teacher, andcritic. His numerous compositions spanthe genres of opera, orchestral, cham-ber, and guitar music, songs, and pianopieces. Turinas Danzas fantsticas existin versions for piano and symphonyorchestra. The latter received its pre-miere in Madrid on February 13, 1920.The work is in three colorfully orches-trated movements. The concludingOrga (Orgy) invokes the farruca, a typeof flamenco dance.

Notes