+

present

in the SALON

KRZYSZTOF PENDERECKI
Friday, October 25 at 7:30PM
Eric Campbell, clarinet
Nathan Lesser, violin
Colin Brookes, viola
Matthew Lipman, viola
Jay Campbell, cello
Alan Ohkubo, cello
Penderecki Quartet
Ensemble Pi
Live broadcast with Q2 Music
Hosted by Helga Davis

With support from the Ontario Arts Council and the

Canada Council for the Arts

Hear tonights concert and many more at

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TONIGHTS PROGRAM
Welcome by Laura Kaminsky, Artistic Director of Symphony Space
Cadenza, for solo viola (1984)
Matthew Lipman, viola

String Quartet No. 3 Leaves from an Unwritten Diary (2008)

Penderecki String Quartet
Jeremy Bell, violin
Jerzy Kaplanek, violin
Christine Vlajk, viola
Katie Schlaikjer, cello

Capriccio per Siegfried Palm, for solo cello (1968)

Jay Campbell, cello

Intermission
Clarinet Quartet (1993)
Musicians from the Yale School of Music
Eric Anderson, clarinet
Nathan Lesser, violin
Colin Brookes, viola
Alan Ohkubo, cello

Sextet (2000)
Ensemble Pi
Moran Katz, clarinet
Karl Kramer, horn
Airi Yoshioka, violin
Katie Schlaikjer, cello
Idith Meshulam, piano

ABOUT THE ARTISTS

Krzysztof Penderecki was born on November 23, 1933 in Dbica,
Poland. He received violin and piano tuition at a very early age and
entered the Conservatoire in Krakow when he was 18. From 1954, he
studied composition with Artur Malewski and Stanisaw Wiechowicz at
the Krakw Academy of Music where he was subsequently appointed
as professor in 1958. One year later, Penderecki won all three available
prizes at the II Warsaw Competition for Young Composers. With
the first performance ofAnaklasisfor 42 string instruments at the
Donaueschingen Festival in 1960, he became part of the international
avant-garde. Penderecki gained a reputation with a wider public with
the premiere of theSt Luke Passionin Mnster Cathedral in 1966. The
Polish composer taught at the Folkwang Hochschule in Essen from
1966 to 1968. His first operaThe Devils of Loudonbased on a book
by Aldous Huxley received its premiere at the Hamburg State Opera
House in 1969. In 1972, Penderecki was appointed as rector of the State
Academy of Music in Krakw and also taught at Yale University in the
USA from 1973 to 1978. Penderecki gained an international reputation
as the conductor of both his own compositions and other works.
Penderecki composed several of his works in remembrance of
catastrophes in the 20th century.Threnosfor 52 string instruments,
composed in 1960, is dedicated to the victims of the atomic bomb
dropped on Hiroshima and the piano concertoResurrectionwas
composed as a reaction to the terror attacks of September 11, 2001. For
Penderecki, these associations in content are not merely an abstract
concept, but also in their instrumental tonal colouring and dramatic
sounds emotionally comprehensible for listeners. Extensive politicalsocial associations can also be found in thePolish Requiem which
he began in 1980 with the composition of theLacrimosawhich is
dedicated to Lech Wasa. The composer dedicated other movements
of this work to the Polish victims of Auschwitz and the Warsaw
uprising in 1944. This was supplemented by theCiaccona in memoriam
Johannes Paul IIin 2005 which commemorated the Polish Pope
Numerous compositions from a variety of genres originated from
direct cooperation with outstanding soloists including Anne-Sophie
Mutter (2nd violin concertoMetamorphosen, among others), Mstislav
Rostropovitsch (Concerto per violoncello ed orchestra no. 2), and
Boris Pergamenschikow (Concerto grosso). The composers interest
was focused on large-scale musical forms, in particular the symphony.
Pendereckis 7th symphonySeven Gates of Jerusalemreceived its first
performance in 1997 demands the forces of five vocal soloists, narrator,

three choirs and large orchestra. This work with duration of just over an
hour was composed under the titlewithin the context of the 3000-year
anniversary of the city. The Old Testament texts of the vocal parts have
a close association with Jerusalems turbulent history. EntitledLieder
der Vergnglichkeit, his 8th symphony for soloists, choir and large
orchestra sets text of German romantic poems related to trees and the
woods to music. The work had been commissioned on occasion of the
grand opening of the Philharmonie Luxembourg in 2005.
Penderecki is one of the musicians to have received the most awards in his
own generation: in 1966 he received the Grand Art Prize from the federal
state of North-Rhine Westphalia, in 1967 the Prix Italia and the Sibelius
Gold Medal, and in 1970 the prize from the Polish Composers Association.
He also received the Prix Arthur Honegger (1977), the Sibelius Prize of the
Wihuri Foundation, the National Prize of Poland (both in 1983), the Premio
Lorenzo il Magnifico (1985), the University of Louisville Grawemeyer
Award for Music Composition (1992), the Prize of the International Music
Council/UNESCO (1993), the Music Prize of the city of Duisburg (1999),
the Cannes Award as Living Composer of the Year (2000), the Romano
Guardini Prize of the Catholic Academy in Bavaria (2002), and the
Praemium Imperiale (2004). Since 1990 he has been holder of the Grand
Cross for Distinguished Services of the Order of Merit of the Federal
Republic of Germany and Chevalier de Saint Georges. In 1995, he became
a member of the Royal Academy of Music in Dublin and in 1998 a member
of the American Academy of Arts and Letters and the Bavarian Academy
of Fine Arts in Munich. In 2006, he was made Commander of the Three
Star Order in Riga, Latvia and is a member of the Order of the White
Eagle in Poland. Krzysztof Penderecki is honorary doctor and honorary
professor of numerous international universities.
Helga Davis is a principal actor in the 25th anniversary re-staging of
Robert Wilson and Philip Glasss seminal work Einstein on the Beach. In
2012, Ms. Davis appeared twice in BAMs Next Wave Festival, in Einstein
on the Beach and Maya Beisers Elsewhere with music by Missy Mazzoli.
She had her second appearance at the Barbican in May 2013 to star in
the opera Oceanic Verses, written for her by Paola Prestini. Ms. Daviss
past work has included The Blue Planet (2008), a multi-media theater
piece written by Peter Greenaway and directed by Saskia Boddeke,
and The Temptation of St. Anthony directed by Robert Wilson, with
libretto and score by Bernice Johnson Reagon of Sweet Honey in the
Rock. In February 2008, Davis conducted a special feature interview
with artist Kara Walker for WNYCs Morning Edition on the eve of
Ms. Walkers Whitney Museum retrospective. David Keenan of Wire
Magazine describes Ms. Davis as a powerful vocalist with an almost
operatic range and all the bruised sensuality of Jeanne Lee.

Violist Matthew Lipman has been hailed by the Chicago Tribune for his
splendid technique and musical sensitivity and by The New York
Times for his rich tone and elegant phrasing. He has appeared as
soloist with the Juilliard, Minnesota, Illinois Philharmonic, Montgomery
Symphony, and Southwest Symphony Orchestras, as well as the Grand
Rapids and Capital City Symphonies. His performance with the Ars
Viva Symphony Orchestra was named the Most Impressive Debut in
Chicago Classical Reviews Top 10 Performances of 2010. Recently,
Lipman recorded Mozarts Sinfonia Concertante with violinist Rachel
Barton Pine, Sir Neville Marriner, and the Academy of St. Martin in the
Fields. Lipman has won First Prize at the Washington, Stulberg, and
Johansen International Competitions and the WAMSO, Juilliard, and
ASTA National Competitions, and is a laureate of the Lionel Tertis and
Primrose International Viola Competitions. He has performed at
Ravinia, Music@Menlo, the Perlman Music Program, and the Chamber
Music Society of Lincoln Center and has collaborated with Itzhak
Perlman, Atar Arad, David Finckel, Miriam Fried, Paul Katz, and Ani and
Ida Kavafian. Lipmans teachers include Heidi Castleman, Misha Amory,
Roland Vamos, and Matthew Mantell. Lipman performs on a viola by
Matteo Goffriller, 1700, on generous loan from the REB Foundation.
The Penderecki String Quartet, approaching the third decade of an
extraordinary career, has become one of the most celebrated chamber
ensembles of their generation. These four musicians from Poland,
Canada, and the USA bring their varied yet collective experience to
create performances that demonstrate their remarkable range of
technical excellence and emotional sweep (The Globe and Mail). Their
recent schedule has included concerts in New York (Weill Hall at
Carnegie Hall), Amsterdam (Concertgebouw), Los Angeles (REDCAT at
Disney Hall), St. Petersburg, Paris, Prague, Berlin, Rome, Belgrade,
Zagreb, Atlanta, as well as appearances at international festivals in
Poland, Lithuania, Italy, Venezuela, Brazil, and China. The PSQ
champions music of our time, performing a wide range of repertoire
from Haydn to Zappa as well as premiering over 100 new works to
date. Described by Fanfare Magazine as an ensemble of formidable
power and keen musical sensitivity, the PSQs diverse discography
includes the chamber music of Brahms and Shostakovich (Eclectra and
Marquis labels) and their recently released Bartok cycle. They enter
their 20th year as Quartet-in-Residence at Wilfrid Laurier University in
Waterloo, Ontario.
Armed with a diverse spectrum of repertoire and eclectic musical
interests, cellist Jay Campbell was recently named First Prize winner of
the 2012 Concert Artist Guild auditions. He has been heard on television,
radio broadcasts, and in concert halls around the world, including

concerto appearances in Carnegie Hall, Alice Tully Hall, Avery Fisher Hall,
Kultur und Kongresszentrum-Luzern, and the Aspen Music Festival, with
conductors Pierre Boulez, Jeffrey Milarsky, and Michael Morgan. Jay
made his debut with the New York Philharmonic this past season
performing the music of Tan Dun. He has collaborated with an array of
artists ranging from composers including Elliott Carter, Pierre Boulez,
Magnus Lindberg, and John Adams, to members of Radiohead and
Einstrzende Neubauten, and has premiered nearly 100 works to date,
including concertos by Chris Rogerson and David Lang. Jay has had the
privilege of collaborating with leading ensembles throughout the globe
including ICE, Ensemble InterContemporain, the Da Capo Chamber
Players, and members of the Arditti, Takcs, Kronos, and Afiara string
quartets. Highlights of the upcoming season include a debut solo CD on
CAG Records and chamber works on Tzadik; appearances at Carnegie
Hall, National Gallery, Krannert Center, Mondavi Center, and the
Heidelberg Festival; and the premieres of new works written for Jay by
John Zorn, Eric Wubbels, Oscar Bianchi, and David Fulmer.
Originally from Wilmette, Illinois, clarinetistEric Andersonis currently
pursuing a Masters of Music at the Yale School of Music.Before arriving at
Yale, he completed studies at Oberlin College and Conservatory, earning a
Bachelors of Music and a Bachelors of Arts in English Literature.His primary
teachers include David Shifrin, Richard Hawkins, and Bonnie Campbell. As
an orchestral musician, Anderson has performed with the Cleveland
Orchestra, New World Symphony, and Canton Symphony.In past summers,
he has performed at the Spoleto Festival USA, the Aspen Music Festival as
a New Horizons Fellow, and at the International Festival at Round Top. An
active chamber musician, Anderson has performed with members of the
Chicago Symphony, Metropolitan Opera Orchestra, Cleveland Orchestra, St.
Louis Symphony, Dallas Symphony, and Houston Symphony.He has also
performed contemporary chamber music with members of the
International Contemporary Ensemble and composers Du Yun, Rand
Steiger, Huang Ruo, Dan Trueman, James Wood, and Lewis Nielson.
Praised by the Rutland Herald for his natural expressiveness and real
musical understanding,Nathan Lesserbegan studying the violin at
the age of four in his home state of Maine. His early teachers include
Irene Rissi, Alicia Doudna, and Gilda Joffe. He received his BM in Violin
Performance from the Oberlin Conservatory of Music under the
tutelage of David Bowlin. There, he participated in the recording of
William Albrights Clarinet Quintet with Professor Richard Hawkins and
in the performance of the first Shostakovich Violin Concerto, which
was rebroadcasted on WQXR in the McGraw Hill Financial Young
Artists Showcase. Mr. Lesser is currently pursuing his Masters Degree
at the Yale School of Music, where he is a student of Ani Kavafian.

Born in Pittsburgh, Colin Brookes studied viola with Carolyn Hills and
Marylene Gingras-Roy. He soloed with the Pittsburgh Symphony and is
a winner of the Pittsburgh Concert Society, Symphony North Concerto
Competition, Music For Mount Lebanon Competition, and Tuesday
Musical Club.Colin holds a Bachelor of Music from The Juilliard School,
where he studied with Heidi Castleman and Misha Amory.In May 2013
he received a Masters degree from Yale School of Music, and is
currently pursuing his Artist Diploma there, studying with Ettore Causa.
Dedicated to exploring new projects and genres, Colin co-wrote and
recorded the film score for Let There Be Sol and has performed new
music in the Bowery Ballroom, Bowery Electric, Rockwood Music Hall,
the Bell House, Music Hall of Williamsburg, and MoMA.
Alan Ohkubobegan studying cello at age seven in his hometown of
Louisville, Kentucky.He later attended Indiana University as a Jacobs
Scholar under the tutelage of Jnos Starker, and currently studies with
Aldo Parisot at the Yale School of Music.Alan was a member of the
New York String Orchestra Seminar in 2008 and 2009, where he took
part in a series of concerts in Carnegie Hall under the direction of
Jaime Laredo. In 2012 and 2013, Alan also participated in Music Masters
Course Japan, an intensive chamber music seminar in Yokohama.
Recent performances include solo and chamber music appearances in
Tokyo, New York City on the Salon de Virtuosi concert series, and
Michigan for the Stulberg International String Competition.
Ensemble Pi,a socially conscious new music group founded in 2002,
features composers whose work seeks to open a dialogue between
ideas and music on some of the worlds current and critical issues.For
the last ten years, Ensemble Pi has presented an annual Peace Project
concert, about which The New York Times raved: music performed
clearly evoked conflict and anguishgracefully playeda fiery and
emotive performance. The ensemblecommissions new works and
collaborates with visual artists, writers, actors, and journalists, among
them South African artist William Kentridge and American journalist/
writer Naomi Wolf, Frederic Rzewski, and Philip Miller. The ensemble
was in residence for four American music festivals presented by the
American Composers Alliance and now collaborates with the APNM.
Ensemble Pihas also created artistic and educational programs in
response to major exhibitions at Chelsea Art Museum, The Rubin
Museum of Himalayan Art, and the Museum of Modern Art.
Gramophone wrote of the Ensembles first CD,Keep Going, a touching
tribute to Ellias Tanenbaum, played with conviction and verve.They
also appear on the second CD of the music of Laura Kaminsky, released
by Albany Records.

ABOUT THE WORKS

Cadenza, for solo viola
The viola is one of Pendereckis favorite instruments, and he often
uses it, both tutti and solo, for particularly expressive passages in his
orchestral works. It is therefore not surprising that after the concertante
solo works for violin and cello, Penderecki composed in 1983 a concerto
for viola as well. The Cadenza for solo viola is an appendix to the viola
concerto: it begins just like the concerto with a twice-repeated sigh of a
descending minor second, espressivo with a lento tempo marking. The
Cadenza also ends with this interval. The piece is composed without
meter indication, i.e. without bar lines. In the first part, the chromatic
sigh motif is spun out in increasingly large arches, with dynamic
intensification, also using heavy quadruple stops and impulsive 32ndnote figuration. In the middle of the piece a brilliant vivace appears,
lively music similar to a Gigue in a Bach solo partita. At the climax of the
intricate musical activity, a ritardando leads back to the lento (at the end
with a double-stopped flageolets over a G pedal tone).
The first performance took place during Pendereckis chamber music
festival in Lusawice in September of 1984 played by Grigorij Schislin,
the Russian violinist and violist much experienced with Pendereckis
concertos for violin and for viola.
-Wolfram Schwinger, translated by Patrick Thomas and Richard Rieves
String Quartet No. 3 (2008) Leaves from an Unwritten Diary
The Quartet is composed in a single movement with strongly defined
subsections. Starting with an almost grave introduction, a dark,
screaming melody in the viola leads directly into a driven, brilliant
vivace in G minor which recurs throughout piece. Soon a beautiful
waltz emerges, followed by a poignant and sweetly singing notturno,
then back to the vivace pattern which Penderecki insisted we play
faster, faster. By the end of our work with the composer in November
we could barely play all the notes in this furious tempo. As we
increased the tempo however, the excitement and intensity were slowly
revealed. Towards the latter half of the composition, a spectacular
gypsy melody appears, a theme that hasnt been heard in any of the
composers previous material. We asked Maestro Penderecki about
this theme and he told us its a melody his father used to play on his
violin when he was a child, perhaps a Romanian melody. Moments
later comes the climax of this masterpiece, where all of the previously
heard themes collide in a powerful moment that is full of intensity and

drama. The end follows shortly after this: soft and introspective, almost
walking off into the distance, with stopped harmonics played by the
2nd violin, echoing the gypsy melody as the work draws to a close.
-Excerpted from Nicholas Tzavaras of the Shanghai Quartet
Capriccio per Siegfried Palm
Besides the two cello concertos written late in life, Penderecki also
wrote a Sonata for cello and orchestra in 1964 and a Capriccio for
Siegfried Palm in 1968 a work where the intimate friendship between
the composer and the first interpreter was even emphasized in the
title. Apart from traditional techniques, sounds are also created in this
composition by playing fast arpeggios between the bridge and the
fallpiece, hitting the bridge, producing the highest possible notes on
one or more strings at a time and hitting the fingerboard with the palm
of the hand. The musical directions in this colourful work are extremely
detailed, including such instructions as Play with the fingertips of the
left hand or Pizzicato alla chitarra (as on a guitar).
-Excerpted from liner notes of Contemporary European Cello Music
(Acoustica)
Clarinet Quartet
Pendereckis eclectic Clarinet Quartet creates the impression of a
retrospective of European art music from the first half of the twentieth
century, perhaps the missing link in Pendereckis own oeuvre. The first
and last movements evoke a solitary feeling with their sustained tones
and expressive melodies. Penderecki maximizes the clarinet and viola
timbres in achieving that character. These movements also benefit
from the slightly darker and warmer clarinet in A, whereas the middle
movements use the B-flat clarinet.
This melancholy music sounds rather more Scandinavian than Central
European. Perhaps this might explain Pendereckis own comment
following a performance by the Tale Quartet: It made me discover new
aspects of my own music.
The first movement of this quartet opens on the solo clarinet, similar
to the Prelude in character as well as in its display of minor third steps.
This develops into a duet with the viola in an almost Bartkian manner.
Towards the end, the cello sustains a low pedal note on the open C
string tuned down to B-flat.
The second movement, Vivacissimo, starts with a rhythmic ostinato in

the strings and eventually develops into a dialogue with the clarinet. The
very short third movement, Serenade, which follows without a break, is an
absurd waltz. Schoenbergs twelve-tone works could easily come to mind.
The most important part of this work is the last movement. It is a long
slow journey from sorrowful darkness to the almost tonal lightness
although not without sadnesswhich closes the work with an F major chord.
It has been claimed that this work was inspired by Franz Schuberts
late String Quintet in C major. Although this is not obvious at first sight,
the two works share the same property of a deeply personal intimacy.
-Per F. Groman, from liner notes of Krzysztof Penderecki: String
Quartets Nos. 1 & 2, Prelude for Clarinet solo, Der unterbrochene
Gedanke, String trio, Quartet for Clarinet & String trio (BIS)
Sextet (2000)
Pendereckis poetic universe of musical narration is dominated by a
dialogue between personae represented by the individual instruments.
They either speak in a single voice or present differing points of view. In
their conversations, discussions, arguments, or bantering, they present
musical ideas and characters, motives, and themes in an often masterly
use of the counterpoint in varied types of instrumental textures. The
internal integration of the musical material creates the image of a single
field for this musical game. At the same time, the clear and condensed
form of the piece drives home the pure beauty of artistic order.
The music of Sextet is characteristic in its restraint of means
employed, in its rhythmical expressiveness, in the lightness, lucidity,
and sophistication of its counterpointed system of the individual
instruments; also, in its clear form and variety of expression. It offers
the twinkling humour of scherzo themes and jesting, ironic, or even
grotesque, allusions to characteristic dance rhythms, through multihued lyricism of concealed emotion to a nostalgic concentration on the
inner world of a person conscious of his or her transience.
The dynamic Allegro moderato is maintained in vigorous and
expressive time, with frequent asymmetric rhythm structures (a
prevalence of the staccato). It begins with an accented and restseparated repetition of A flat in the pianos bass, which sets the centre
of reference of the movement. Returns and pitch shifts of this motive
(with different rhythm models) establish the general tonal plan
of this section (A flat, D, F, D, A flat, D). This approach also returns
in the repetition of accented chords, imparting on the narration a
joyful dancing aura, and no wonder: note repetitions as a significant

musical gesture (in its various functions) are part of the composer
basic repertoire of musical language means. The primary theme of
a misleading simplicity and a jocular, somewhat capricious character
- is introduced by the clarinet and contains motives from which other
musical ideas of the first movement will derive. At bar 157/8, a lyricaldeclamatory melodic phrase will appear in punctuated rhythm to
anticipate the main theme of the second movement.
The extensive Larghetto contrasts in time and character with its
predecessor and is the main part of the Sextet. Its singular and solemn
theme, declamatory and expressive, is based on a falling sequence of
minor seconds enhanced with a repetitive iambic rhythm pattern. It is
presented in various instruments and undergoes refined development
and transformation. Of particular note is the original part of the
piano, different from its usual emploi. Repeated notes or dominating
single-voice (or octave) recitative parts and figures of motion come
side-by-side with segments set on several planes. Howards the end,
a peculiar retrospection applies a different metaphysical perspective;
dematerialized, echoing motives of nostalgia vanish into silence.
-Excerpt from program notes by Regina Chopicka

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The Polish Cultural Institute New York, established in 2000, is a
diplomatic mission dedicated to nurturing and promoting cultural
ties between the United States and Poland. The Institute initiates,
organizes, promotes, and produces a broad range of cultural events in
theater, music, dance, film, literature, and the arts. It has collaborated
with such cultural institutions as the Lincoln Center Festival, BAM,
the Film Society of Lincoln Center, The Museum of Modern Art, The
Jewish Museum, PEN World Voices Festival, Yale University, Columbia
University, and many more. http://www.polishculture-nyc.org

SYMPHONY SPACE STAFF

Cynthia Elliott, President & CEO

Laura Kaminsky, Artistic Director

Peg Wreen, Sr. VP for Administration

Darren Critz, Director of Performing Arts Programs
Isabel Kim, Associate Producer of Performing Arts Programs
Anthony Paggett, Assistant to the Artistic Director

www.zabars.com

Music programming at Symphony Space has been made possible through

generous support from The Amphion Foundation; Arnhold Foundation; ASCAP;
ASCAP Foundation Joseph & Rosalie Meyer Fund; Office of Cultural Affairs,
Consulate General of Israel in New York; Aaron Copland Fund for Music; The
Gladys Krieble Delmas Foundation; The Alice M. Ditson Fund of Columbia
University; Ann and Gordon Getty Foundation; Herman Goldman Foundation;
Merrill G. and Emita E. Hastings Foundation; Hermitage Artist Retreat; Lemberg
Foundation; New York City Department of Cultural Affairs in partnership with
the City Council; The Nimoy Foundation; The Fan Fox and Leslie R. Samuels
Foundation; The Virgil Thomson Foundation, Virginia B. Toulmin Foundation; The
Kurt Weill Foundation for Music, The Joyce and George Wein Foundation; and
Symphony Spaces Board of Directors, Producers Circle, and Members.
Music programming has also been made possible by the New York State Council
on the Arts, with the support of Governor Andrew Cuomo and the New York
State Legislature.
Music programming also receives support from an endowment established
by The Bydale Foundation, Mary Flager Cary Charitable Trust, The Gladys
Krieble Delmas Foundation, Christopher and Barbara Dixon, Herman Goldman
Foundation, William and Angela Haines, Walter and Marge Scheuer, and Zabars.